1,721,006 research outputs found
Uloga boje u gradnji glazbenog oblika u odabranim djelima Marka Ruždjaka / Sound Spaces: The Role of Timbre in Building Musical Form Within a Selection of Marko Ruždjak's Work
No full textSome of the most successful works in the opus of Marko Ruždjak would have been impossible to conceive without the clarinet, the composer’s favourite instrument, as well as wit- hout the guitar, percussion, and voice (soprano, baritone or choir). The author researches how the composer’s choice of instrumental timbres and the voicing of the instruments as solo part or part of a larger sound aggregates (or units) is guided by a singular idea, which can be defi- ned as sound space. The timbre in this context is not conceived just as an element of a two- dimensional unit (building contrasts or overflowing and fusion in the temporal flow), rather it participates in the building of the spatial (and emotional) perspective. It contributes to a building of a specific musical form and expression. Ruždjak’s works have been analyzed through the categories that are linked to the Klangkomposition aesthetics of the Sixties. In the first part of the text, the formal function of individual parameters such as dynamic and regi- ster in the works Passamezzo, Tentatio, Canto peregrino, Versus, Ricercar is analyzed. In the se- cond part of the text, the analysis of Odrazi, Andantino, Notturno is developed through the more complex dimensions such as "static immobile surfaces", "surfaces in movement", "globally static surfaces, flecked with internal movement". They have been deduced from the published and unpublished texts by Györgi Ligeti. The theoretical background for the analysis of the sound's formal functions in the works of Ruždjak is part of the Klangkomposition's aesthetic. Together with the analysis of harmonic and motivic dimensions of the composer's language, they conduct to the possibility of a deeper understanding of the synthesis between various stylistic trajectories that are characteristic for the musical path of Marko Ruždjak
Natura e calcolo nella concezione del tempo di Gérard Grisey
No full textA partire dagli schizzi di tre composizioni (Pèriodes, Modulations, Le Temps et l'ecume) si indaga sul rapporto tra l'impiego di griglie numeriche e la definizione della forma musicale come uno dei parametri significativi della tecnica compositiva spettrale
Thomas Gartmann, “...dass nichts an sich jemals vollendet ist.” Untersuchungen zum Instrumentalschaffen von Luciano Berio
No full textLa recensione presenta il volume di Gartmann in cui sono raccolti una serie di studi sul processo compositivo di Luciano Berio svolti a partire dallo studio degli schizzi. Da capitolo a capitolo si mettono in rilievo punti più significativi della ricezione del pensiero di Berio da parte degli studiosi della musica contemporanea, processo spesso reso difficile dalla scarsa disponibilità di materiali precompositivi
La polifonia rivisitata: lo studio degli schizzi alla luce degli studi sul processo creativo in Ligeti, Lachenmann e Grisey
No full textIl pensiero polifonico, inteso non solo come presenza di più voci contemporanea- mente, e quindi in opposizione con l’espressione monodica, ma anche e soprattutto come rete di livelli correlati, e senza subordinazione, è profondamente radicato nella cultura musicale occidentale. Il Novecento, in modo particolare, ha visto un rinnovato interesse verso la polifonia, scaturito dalle pratiche compositive dodecafoniche, che ha trovato un terreno fertile nei linguaggi del secondo dopoguerra. L’interesse persistente per il concetto di polifonia e le sue molteplici letture viene testimoniato dalle modalità secondo cui i compositori ne studiano e sperimentano le potenzialità, e di cui abbiamo traccia nei materiali preparatori. Da questa prospettiva, gli schizzi – considerati non più solo come fonti per lo studio della genesi, della tecnica, del processo compositivo – possono suggerire letture più trasversali stimolate dai più recenti studi sulla creatività. Un quadro introduttivo sullo stato dell’arte dello studio degli schizzi, alla luce dei cambiamenti recenti, delinea il contesto per il successivo esame dei tre specifici casi di studio di Ligeti, Lachenmann e Grisey
“Forma formans”. An Investigation Into The Forms Of Time In Francesco Filidei’s Music
No full textThe dimension of time in Filidei’s poetic horizon is strongly interconnected with that of the sound as it is only through the life of sound articulated in a birth, a growth and a death that we can experience the passing of time. The musical form is shaped accordingly as teleological: every instant germinates from the observation of the instant that preceded it, in a continuum of instants that accumulate in the listener’s memory and with their repetitive nature prepare the appropriate context for the introduction of difference. Filidei’s compositional technique is based on inner listening and improvisation of specific musical and formal gestures that can be experienced in their primordial, physical, and ritual dimensions. Two perspectives have been adopted in this research to examine the evolution of Filidei’s compositional language, from the early works to the works from 2000s. The first perspective focuses on the “skeleton of time” and investigates (on the example of Toccata for piano) the relationship between the simple gesture identified by the process of producing a sound and the structure-gesture identified as a complex universe of single gestures merged in a more complex event from both spectral and temporal point of view. The second perspective investigates the “colour of time” expressed through harmonic and spectral dimensions of works composed in the late 2000s, such as Concertino d’autunno or Ogni gesto d’amore. Here a new technology for the organisation of musical time is set up consisting of the articulation of the global form through sections each corresponding to a note on the chromatic scale. The system does not affect Filidei’s modus operandi, which always remains linked to the writing of the instant after the instant, experiencing the need for the gesture towards transformation. Still, this new “object” which is the scale, gives the possibility to conceive and organise much broader architectures in time, as the analysis of Ogni gesto d’amore illustrates
Eine Reflexion über die formale Funktion der inharmonischen Spektren in Beziehung zur Zeit und Form in Les Espaces Acoustiques
No full textIn this paper, the attention is focused on a very specific form of inharmonic spectra which is proximate to the upper threshold of the Grisey’s scale of com- plexity theorized in his article »Tempus ex machina. A composer’s reflexions on musical time«, i.e. to white noise. Various functions which this particular spectro-morphological element performs in the temporal and formal organi- zation are examined trough some extracts from works of the cycle Les Espaces Acoustiques. Different occurrences of inharmonic spectra are also observed from the perception point of view, as elements that are capable of building a sort of a »point of orientation«. Therefore, they contribute to the directional- ity of spectral transformation processes control. This later is discussed on the basis of some categories recurrent in Grisey’s sketches, subordinate to catego- ries derived from the previously mentioned scale of complexity and informa- tion theory. The composer’s aim is to reduce the gap between composed and perceived temporal and sonic phenomena
György Ligeti. Il maestro dello spazio immaginario
No full textIl presente volume esamina il pensiero musicale di György Ligeti da diverse prospettive. La prima parte è dedicata alle vicende biografiche, alla rete di relazioni, al contesto culturale e politico. I quattro capitoli della seconda parte ripercorrono l’intero arco produttivo di Ligeti, integrando le informazioni generali sulle opere con l’illustrazione degli aspetti più significativi della tecnica compositiva; alla base di questa indagine vi è uno studio approfondito di manoscritti musicali, carteggi inediti e annotazioni di poetica conservati presso la Fondazione Paul Sacher di Basilea. Il capitolo conclusivo è dedicato al contributo di Ligeti nel campo della teoria musicale e al ruolo che egli svolse nel dibattito tra i maggiori esponenti dell’avanguardia. Il volume si configura come un lavoro ampio e aggiornato sul compositore ungherese e sugli ambienti in cui operava, includendo numerosi scorci sulla cultura e sugli orizzonti musicali della seconda metà del XX secolo
Ritratti critici di contemporanei: György Ligeti
No full textIntroduzione alla vita e le opere del compositore ungherese Gyorgy Ligeti attraverso l'indagine sui suoi contatti con i maggiori artisti e uomini di cultura del suo tempo
Time's arrow in spectral music
No full textSonographic analysis offers composers of spectral music a wealth of scientific data regarding the internal and temporal structure of sound. Starting from these observations various techniques of instrumental synthesis have been elaborated, including sonogram simulation, ring modulation, frequency modulation, etc. These represent the basis of the spectral compositions of the Seventies. The grounding elements of the spectral attitude are based on one hand on the continuity of the acoustic field (from sine wave through various forms of harmonic and inharmonic spectra towards white noise) and, on the other, on the continuity of the field of durations (from periodicity to the statistical distribution). Considering these perceptive points of orientation, the composers organize various transformational processes and by so doing they articulate the global form. The concept of directionality, abandoned during the integral serialism practice, is now restored thanks to the trajectories of transformational processes which shape the sound material in its restless becoming. Handling these trajectories from both the compositional and the perceptive point of view and inspired by Stockhausen’s “Veränderungsgrad”, Grisey theorizes the concept of pre-audibility. It reflects the composers' interest in the perceptive dimensions and in the role the difference plays in the processes of building both the local and macrostructural trajectories. The early phase spectral processes time’s arrow (Seventies and early Eighties) seems irreversible. However, the extreme slowness and predictability of sound becoming introduce some new challenges to composers. The concept of temporal scale is theorized and it acts as factor of new macroformal dynamics as well as new temporalities
Kasni opus Natka Devčića: Lirska scena za bariton, rog i gudački kvartet iz 1984. i Gudački kvartet iz 1987 [Late Opus by Natko Devčić: Lyric Scene, for bariton, horn and string quartet of 1984 and String Quartet of 1987]
No full textČetverostavačni gudački kvartet (Andante – Allegro – Largo – Presto) skladan 1987. i iste godine praizveden u Brnu, jedino je djelo u opusu Natka Devčića osmišljeno za taj sastav. Samo tri godine ranije, 1984. Devčić sklada Lirsku scenu (praizvedba u Osoru 1984.) u devet prizora na odabrane tekstove Josipa Pupačića, u kojoj osim gudačkog kvarteta koristi još bariton i rog. Kroz komparativni pristup skladateljskom slogu oba djela analizirati će se stilske značajke kasnog Devčićevog opusa te ispitati na koji se način odnos glazba-riječ u Lirskoj sceni razvija kroz mrežu semantičkih mogućnosti, a koliko su određeni postupci prepoznatljivi kao konstante skladateljskog jezika. U fokusu analitičkog pristupa je Devčićev rad s intervalima i artikulacija harmonijske komponente kroz specifične postupke u organizaciji kromatskog totala. [The String quartet in four movements (Andante – Allegro – Largo – Presto) composed in 1987, and performed the same year in Brno, is the only work of its genre in the opus of Natko Devčić. Just three years before, in 1984, Devčić composed Lirska scena (Lyric Scene) in nine parts, based on selected texts of the poet Josip Pupačić (first performance in Osor in 1984). Here, in addition to the string quartet, the composer used baritone voice and horn as well. Through a comparative approach to the composer's voicing (setting?) in these two works, the stylistic features of the late Devčić opus will be analysed. Also, the paper will examine the way in which the music-text relationship in Lirska scena is developed trough a net of semantic possibilities, and how specific procedures can be recognized as constants of composer’s writing. The focal point of the analysis is Devičić’s work with intervals and the articulation of harmonic settings trough specific procedures of organizing the chromatic total.
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