1,131 research outputs found
Liberating sounds: philosophical perspectives on the music and writings of Helmut Lachenmann
No full textThis study is engaged with the examination of an apparent ambiguity in the musical aesthetics of German avant-garde composer Helmut Lachenmann. Lachenmann's thinking moves between the staunchly dialectical, Adornian stance with which he is generally associated as a composer of musica negative and a less familiar, affirmative concept of 'liberated perception'. The latter concept seems on the face of it to be closely related to the so-called 'libidinal philosophy' of Jean-Frangois Lyotard and Gilles Deleuze. The above discrepancy is located around the central philosophical notions of subjectivity, history and musical material. The question is examined through an analysis of two key Lachenmann essays, 'Klangtypen der Neuen Musik' (1966) and 'Bedingungen des Materials' (1978); an extended discussion of his concept of 'instrumental musique concrete'; the study of the orchestral works Accanto (1976) and Tanzsuite mit Deutschlandlied (1980); and by drawing on the work of Theodor Adomo, Jean-Frangois Lyotard and Gilles Deleuze
The physicality of sound production on acoustic instruments
No full textThis thesis was submitted for the award of Doctor of Philosophy and was awarded by Brunel University. The thesis is accompanied by 14 compositions which appear in the order specified in the Thesis Introduction.This thesis presents practical research into sound production on instruments, working
collaboratively with players, in order to build an understanding of the sounds
available.
I have explored the way in which instrumental technique can be extended in such a way as to function as the basis for musical material. The function of ‘figuration’ has also be brought into question, by employing seemingly primitive, residual material pushed to such a degree that it is possible to hear what happens underneath a gesture.
Research in this area has been conducted by, among others, Helmut Lachenmann and Rebecca Saunders; I am drawn to the way their work highlights the tangible quality of sound. The exploration of the physicality of sound production inevitably encounters the problem that the finished work becomes a catalogue of extended techniques. My research has drawn on the work of these composers and has attempted to resolve this problem by exploring the way in which texture can suggest ‘line’ and the structural implications of sculpting self-referential material through angular and polarized
divisions. This facilitates a Braille-like reading of a sound’s progress by foregrounding a non-thematic sound-surface of resonance and decay.
This takes a positive and active approach to the problems of musical language, by
questioning the functions and expectations put upon music. The possible solutions have been worked through in a series of works for mixed chamber ensembles, in order to investigate the palette possibilities of fusing instruments in intimate settings.The Arts and Humanities Research Counci
À propos de Helmut Lachenmann
No full textLa fascination croissante qui émane de l’œuvre de Helmut Lachenmann tient à trois qualités qui ont produit dans sa personnalité une fusion rare : la force de l’innovation, une intellectualité brillante et une absence de concessions existentielle. Obtenir par filtrage du jeu instrumental des échelles entières de sons bruités, voilà la création la plus personnelle de Lachenmann, que lui-même appelle la « musique concrète instrumentale ». Sans recourir à l’électronique, si fortement mise en avan..
Helmut Lachenmann
No full textLa musique de Helmut Lachenmann met en crise les conventions et les habitudes d’écoute avec une radicalité sans précédent. Rien, chez lui, ne va de soi. L’œuvre est à la fois une analyse implacable de tout ce qui s’est sédimenté dans le matériau et dans la pratique musicale, et une expérience inouïe, à travers laquelle plus rien ne peut être comme avant. Elle n’est pourtant pas liée à un programme : tout se joue à l’intérieur du phénomène sonore lui-même. Les structures traditionnelles, qu’il..
O PARADIGMA INSTRUMENTAL EM HELMUT LACHENMANN E A VOZ COMO MATERIAL COMPOSICIONAL EM GOT LOST
No full textThis research consists of an investigation into the vocal instrument in the work of German composer Helmut Lachenmann (1935).Este trabalho consiste em uma investigação sobre o instrumento vocal na obra do compositor alemão Helmut Lachenmann (1935)
… écoute cet instant… : Helmut Lachenmann / Luigi Nono
No full textL’oeuvre de Luigi Nono et celle de Helmut Lachenmann interrogent depuis toujours la notion d’écoute, l’une au travers d’une critique la distinguant radicalement de la vision et menant à une pensée du dialogue faisant suite à une mise en suspens, l’autre l’associant à une appréhension tactile du phénomène sonore, où l’intersubjectivité se charge peu à peu de résonances empruntées à la philosophie japonaise contemporaine. Présentant les fondements théoriques de l’oeuvre de ces deux musiciens et certaines de leurs traductions musicales, l’article scrute ainsi leurs différences.The works of Luigi Nono and Helmut Lachenmann have always explored the notion of listening. Where as Nono's approach takes the form of a critique which radically distinguishes listening from seeing, giving way to a dialogical mode of thought, Lachenmann thematizes the tactile perception of sonic phenomena, in which an intersubjective approach gradually resonates with ideas borrowed from contemporary Japanese philosophy. A presentation of the theoretical foundations of these two musicians, as well as a discussion of their translation into music, this article brings to light their differences of approach
Helmut Lachenmann: Kurzportrait mit Selbstportrait
No full textCharacteristics of Helmut Lachenmann’s music are approached through the author’s
own music and musical thinking, intertwining portrait and self-portrait. Lachenmann’s music reflects problems of a recent history of composition and asks key questions about music’s relation to society. It challenges, for example, the position of composers/writers towards collective standards, but also reflects what critical thinking can mean in a society that consumes criticism and makes it part of its own system. Polyvalent structural relationships within Lachenmann’s music reflect his insistent method of observing and perceiving, of re-working, re-shaping traditional modes of listening. Whereas the terms »revolutionary« and »novelty« (not only in contemporary music) have become commodities or matters of fast changing trends, Helmut Lachenmann can be characterized as a »homo differentialis« whose work substantiates an existential necessity to bring music to the ear of the listener
Got Lost: linguagem e percepção na obra de Helmut Lachenmann
No full textMestrado em MúsicaA presente dissertação realiza uma análise sobre a utilização do texto na obra
GOT LOST (2008) para piano e soprano de Helmut Lachenmann. Para tal,
dada a multiplicidade auto-referencial de meios implicados na obra, realizo
uma análise da evolução da utilização de linguagem em música no contexto do
corpus criativo do compositor. Esta análise permite compreender a obra na sua
relação diversificada com o texto, quer no sentido que justifica a afirmação,
como a negação do plano de significado. A compreensão evolutiva da relação
do compositor com o texto é aqui explorada quer ao nível técnico
composicional, quer ao nível do pensamento estético desenvolvido por
Lachenmann, ao longo do seu percurso criativo. A análise realizada da obra
GOT LOST constitui assim um portal de acesso não só a si própria, mas ao
universo criativo do pensamento estético de Helmut Lachenamnn.The present dissertation does an analysis about the use of text in the piece
GOT LOST (2008) for piano and soprano by Helmut Lachenmann. To do so,
given the self-referencial multiplicity of means implied in the piece, i make an
analysis of the evolution of the use of language in music in the context of the
creative corpus of the composer. This analysis enables the understanding of
the piece in its diversified relationship with the texts, either in the sense that
justifies the affirmation, as well as the negation of linguistic signification.
Understanding the evolution of the relation that the composer establishes with
the use of text is explored both on what concerns compositional thechniques
and on the esthetical thought developed by the composer along his creative
track. The analysis of the piece GOT LOST constitutes here the access portal
not only to itself, but to the universe of creation e esthetic thought by Helmut
Lachenmann
Catalogue des œuvres
No full text1. FÜNF VARIATIONEN ÜBER EIN THEMA VON FRANZ SCHUBERT pour piano (1956), 7’Création : Stuttgart, 1957. Jost Cramer 2. RONDO pour deux pianos à quatre mains (1957), 14’Création : Stuttgart, 1958. Gunilde Cramer, Helmut Lachenmann 3. SOUVENIR. Musique pour quarante-et-un instruments (1959), 15’Création : Cologne, 1979. Kölner Rundfunk-Sinfonieorchester, dir. Ladislav Kupkoviã 4. DUE GIRI, 2 études pour orchestre (1960)Inédit 5. TRIPELSEXTETT pour 6 bois, 6 cuivres et 6 cordes (1960-1961)Inédit ..
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