scholarly journals ELECTROACOUSTIC MUSIC AND THE SLOVAK MUSICAL AVANT-GARDE IN THE 1960S

2021 ◽  
Vol 11 (1) ◽  
pp. 59-64
Author(s):  
ALENA ČIERNA
Keyword(s):  
Performing Arts ◽  
Western Europe ◽  
Developmental Stages ◽  
Electroacoustic Music ◽  
New Music ◽  
The Novel ◽  
Compositional Techniques ◽  
Avant Garde ◽  
The 1960S ◽  
The Given

In the 1960s, the development of music in Slovakia was marked by prominent generational and stylistic confrontations of the compositional poetries of the previous generations of composers and the just emerging one. In the composers’ community, an initiative was gaining a foothold that reassessed the practices, norms, and achievements of the previous developmental stages of Slovak music and looked for new points of departure. In certain stages of the given period, the first graduates of the Academy of Performing Arts (Ilja Zeljenka, Juraj Pospíšil, Pavol Šimai, Ladislav Kupkovič, Peter Kolman, Roman Berger, Jozef Malovec, Miroslav Bázlik, Ivan Parík, Tadeáš Salva, and others) entered the musical scene. The genesis and the formation of the Slovak musical avant-garde in the 1960s was determined by their quest for the novel possibilities of expression and the compositional techniques of the so-called New Music of Western Europe. They included experimenting with previously unknown electrogenic compositional materials and techniques of electroacoustic music. Slovak electroacoustic music, which achieved success in Slovakia and abroad already in the 1960s, emerged first on a private basis, later in the Sound Studio of the Czechoslovak Television, and, primarily, in the Experimental Studio of the Czechoslovak Radio.

Spectromorphological analysis of sound objects: an adaptation of Pierre Schaeffer's typomorphology

2007 ◽  
Vol 12 (2) ◽  
pp. 129-141 ◽  
Author(s):  
Lasse Thoresen ◽  
Andreas Hedman
Keyword(s):  
New World ◽  
Sound Production ◽  
Sound Quality ◽  
Electroacoustic Music ◽  
Western Music ◽  
Avant Garde ◽  
Practical Tool ◽  
Practical Analysis ◽  
Sound Objects ◽  
The 1960S

AbstractThe last fifty years has witnessed an enormous development with regard to sound production, and has opened a new world of novel aural experiences. In order to be able to articulate and discuss these experiences there is a need for a corresponding novel set of terms and concepts. Such a terminology would also be relevant for analytical and interpretive approaches to electroacoustic music, avant-garde Western music, and ethno music. Pierre Schaeffer's typomorphology, developed in the 1960s, proposed a variety of novel terms, but they have not been of widespread use, since they unfortunately did not lend themselves very well for practical analysis. The present paper intends to develop Schaeffer's approach in the direction of a practical tool for conceptualising and notating sound quality. While carefully reducing the sometimes-bewildering number of terms found in Schaeffer's work, it introduces a set of graphic symbols apt for transcribing electroacoustic music in a concise score. The analysis of sound objects calls for a specific listeners' intention, called reductive listening.

The Spatial Expansion of Language in Sound Poetry of Western and Eastern Europe

2016 ◽  
Author(s):  
Endre Szkárosi
Keyword(s):  
Twentieth Century ◽  
Comparative Study ◽  
Eastern Europe ◽  
Pop Music ◽  
Spatial Expansion ◽  
Avant Garde ◽  
Sound Poetry ◽  
The 1960S ◽  
The Given

This chapter offers an analysis of the process in which Hungarian poetry “takes back” (recuperates) the vocal and sonic dimensions of language in the second half of the twentieth century. Together with its actional parallels and consequences, this progress implicates a powerful functionalization of the performativity in poetry, which, for various reasons, was neglected in historical avant-garde poetry in Hungary. New avant-garde and experimental waves in art and influences of radical pop music were much more productive in this sense from the 1960s on, and several inspirations of Western cultural trends helped to form a particular underground scene, mainly in the 1980s. Contextualizing these phenomena, the author makes a comparative study of the main tendencies of the given period on such a field in Euro-American sound poetry experimentations (Futurism, Dada, Fluxus), while highlighting some outstanding works of Hungarian poets and groups, such as Tibor Papp, Katalin Ladik, and Konnektor.

Robert Ashley

2012 ◽  
Author(s):  
Kyle Gann
Keyword(s):  
Performing Arts ◽  
Early Years ◽  
American Composers ◽  
Avant Garde ◽  
Vernacular Music ◽  
Ann Arbor ◽  
Group A ◽  
1960S And 1970S ◽  
The 1960S ◽  
Similar Text

This book explores the life and works of Robert Ashley, one of the leading American composers of the post-Cage generation. Ashley's innovations began in the 1960s when he, along with Alvin Lucier, Gordon Mumma, and David Behrman, formed the Sonic Arts Union, a group that turned conceptualism toward electronics. He was also instrumental in the influential ONCE Group, a theatrical ensemble that toured extensively in the 1960s. During his tenure as its director, the ONCE Festival in Ann Arbor presented most of the decade's pioneers of the performing arts. Particularly known for his development of television operas beginning with Perfect Lives, Ashley spun a long series of similar text/music works, sometimes termed “performance novels.” These massive pieces have been compared with Wagner's Ring Cycle for the vastness of their vision, though the materials are completely different, often incorporating noise backgrounds, vernacular music, and highly structured, even serialized, musical configurations. Drawing on extensive research into Ashley's early years in Ann Arbor and interviews with Ashley and his collaborators, this book chronicles the life and work of this musical innovator and provides an overview of the avant-garde milieu of the 1960s and 1970s to which he was so central. The book examines all nine of Ashley's major operas to date in detail, along with many minor works, revealing the fanatical structures that underlie Ashley's music as well as private references hidden in his opera librettos.

scholarly journals The stages of modernism in Serbian music

Muzikologija ◽  
2006 ◽  
pp. 93-116
Author(s):  
Melita Milin
Keyword(s):  
World War Ii ◽  
New Music ◽  
Compositional Techniques ◽  
World War ◽  
German Expressionism ◽  
Avant Garde ◽  
Progressive Development ◽  
Third Stage ◽  
Musical Modernism ◽  
Modernist Project

In order to consider this topic, it was first necessary to discuss certain problems of terminology and periodisation relating to musical modernism in general. It is already familiar the extent to which the terms "new music", "modernist", "contemporary" and "avant-garde" music have been used interchangeably, as synonyms. For this reason, it was first important to outline the period of musical modernism as almost generally accepted, which is regarded as an epoch comprising three different periods: (I) period of early modernism (1890?1918), announced by a break with later romanticism and a turn towards French Impressionism, Austro-German Expressionism and Russian "folkloric Expressionism"; (II) period of "classical modernism"(1919?1945) that witnessed a diffusion of neo-classicism and serialism; (III) period of "high modernism" (1946?1972) characterized by highly experimental compositional techniques such as integral serialism and aleatoricism. In relation to this, avant-garde movements are seen as radically innovative and subversive tendencies within this modernist epoch, and while certain postmodernist ideas can be recognized as early as the 1950s, postmodernism as a movement hadn?t gained its full potency until the 1970s. Since then, it has assumed different forms of existence as well as having assimilated a continued form of ?modernist project?. The second part of the article proposes a periodisation of Serbian musical modernism, which is divided into four stages. The first stage (1908?1945) was a period where elements of Impressionism and German expressionism were creatively introduced into the works of several leading composers (Petar Konjovic, Stevan Hristic, Miloje Milojevic, Josip Slavenski, Marko Tajcevic). The second stage (1929?1945) was marked by a group of composers who studied in Prague and assimilated certain progressive compositional techniques such as free tonality, atonality dodecaphony, microtonality and athematicism (Mihovil Logar, Predrag Milosevic, Dragutin Colic, Ljubica Maric, Vojislav Vuckovic, Milan Ristic). The third stage (1951?1970) followed immediately after the era of Socialist Realism, which involved the rediscovery of the pre- World War II Western modernism and prepared the ground for contemporary avant-garde developments almost non-existent before 1961 (Milan Ristic, Dusan Radic, Dejan Despic Vladan Radovanovic, Enriko Josif, Stanojlo Rajicic, Vasilije Mokranjac Aleksandar Obradovic, Ljubica Maric, Rajko Maksimovic). The fourth stage (1956?1980) was the period during which the post-World War II avant-garde developments found their home amongst Serbian composers, some of them conceived almost simultaneously with but independent of the current progressive development in the rest of the world (Vladan Radovanovic Aleksandar Obradovic, Petar Ozgijan, Petar Bergamo, Srdjan Hofman, the group Opus 4).

The Spatialization of Time and the Eternal “Now Moment”

2020 ◽  
pp. 364-374
Author(s):  
Christopher Hasty
Keyword(s):  
New Music ◽  
The Novel ◽  
Avant Garde ◽  
Experience Of Time ◽  
The Subject ◽  
The Moment

This concluding chapter assesses the attribution of spatiality and timelessness to musical events. The novel experiences offered by the New and post-New Music have been the subject of considerable speculation concerning the temporality of postwar compositions and people's experience of “time” in general. These speculations have centered on two characteristics that distinguish the new music from the old: the spatialization of time and the experience of the moment as an autonomous, timeless, or eternal present. These notions already appeared in earlier discussions of structure and of meter conceived as cyclic return. There it was argued that the spatialization of time and the autonomy of a present freed from becoming are products of conceptualization. However, in postwar avant-garde aesthetics, these categories are adamantly applied to perceptual acts.

Experimental Music and the Avant-garde in Post-1959 Cuba

2018 ◽  
Author(s):  
Marysol Quevedo
Keyword(s):  
Experimental Music ◽  
New Music ◽  
Cuban Revolution ◽  
Cultural Institutions ◽  
Avant Garde ◽  
Elite Group ◽  
Cultural Policies ◽  
The 1960S ◽  
The Aesthetic ◽  
Leo Brouwer

This chapter examines how experimental music in the 1960s in Cuba reached wider audiences as a product of the cultural policies of the Cuban Revolution and of the aesthetic goals of a particular set of individuals who took advantage of the new cultural institutions to promote experimental music under the banner of vanguardia. As music advisor of the Orquesta Sinfónica Nacional, Juan Blanco programed new music by international and Cuban composers. As music director of the Instituto Cubano de Artes e Industrias Cinematográficas, Leo Brouwer recruited composers who shared his interest in experimental music. The chapter’s case studies prove that experimental music in Cuba was not aimed at an elite group of initiated avant-gardists but reflected the new political and social climate, in which all types of music were meant to reach as wide a segment of the population as possible.

scholarly journals Dostoevskian Literary Poliphony as Lyrical-Theatrical Hypostasis of Sergey Prokofiev’s Opera The Gambler

2020 ◽  
Vol 21 (1) ◽  
pp. 19-35
Author(s):  
Mihaela-Georgiana Balan
Keyword(s):  
Philosophy Of Language ◽  
Western Europe ◽  
Mikhail Bakhtin ◽  
The Novel ◽  
Musical Language ◽  
Original Source ◽  
Avant Garde ◽  
Sergey Prokofiev ◽  
Elements Of Style ◽  
Russian Composers

AbstractFyodor Dostoevsky’s perspective on humankind and society continues to intrigue any reader, whether specialized or from other areas of activity, due to the universality of the topics and the complexity of the characters involved. The novel entitled The Player depicts the life and specific concerns of 19th-century world society, a subject which attracted Sergey Prokofiev to compose a work with the same title, at the beginning of the 20th century. His opera is a unique work through the avant-garde musical language, the atypical construction of the discourse, the elements of style and conception of the libretto in relation to the original source. These elements generate a multiple correlation between the Dostoevskian prose, literary theory, the philosophy of language through studies and volumes of hermeneutic analysis, such as those signed by critic and semiotician Mikhail Bakhtin, on which we will focus our attention during this research. The terminology used by Bakhtin (dialogism, polyphony, ventrilogism, carnival) indicates a profound insight into the connection between Dostoevsky’s prose and the theatrical, dramatic, lyrical, musical aspects of the epic substratum in his novels. At the same time, Dostoevsky was an involuntary forerunner of the artistic movement initiated in Western Europe by German composers – Expressionism –, which also had echoes in the works of Russian composers from the first half of the last century, as we shall see in Sergey Prokofiev’s approach of The Gambler.

Media Art in Argentina: Ideology and Critique “Después Del Pop”

ARTMargins ◽  
2012 ◽  
Vol 1 (2–3) ◽  
pp. 152-175
Author(s):  
Karen Benezra
Keyword(s):  
Conceptual Art ◽  
The Novel ◽  
Literary Critic ◽  
Media Art ◽  
Late Capitalism ◽  
Symbolic Form ◽  
Avant Garde ◽  
Political Stance ◽  
Group A ◽  
The 1960S

This article examines the rise and reception of conceptual art in Argentina. Against dominant readings of the 1960s' and 70s' visual avant-gardes in Latin America, I reconsider the stakes of art's so-called “dematerialization” and its unique claim on ideology critique in the work of the Grupo Arte de los Medios [Media Art Group], a collective of young artists led by the philosopher and literary critic Oscar Masotta. Arguing for a re-historicization of the 1960s avant-garde as one that emerges as a self-reflexive reaction to the novel articulation of late capitalism in Argentina, I trace a critical continuity between the Grupo Arte de los Medios and the avant-gardist claims on the fusion of art and militant politics among its immediate successors. I suggest that the Argentinean avant-garde defined its radical political stance through a reflection on the immanent relation of structural cause to symbolic form, probing and pointing to the limits of the operation of estrangement.

scholarly journals Innovative trends in the symphonic works of Soviet composers of the 1960s and Symphony No.3 by B. Tishchenko. Part 2

2021 ◽  
pp. 1-15
Author(s):  
Iurii Eduardovich Serov
Keyword(s):  
New Music ◽  
Musical Language ◽  
Modern Music ◽  
Avant Garde ◽  
Russian Music ◽  
The Subject ◽  
Symphonic Music ◽  
The 1960S ◽  
New Generation

The subject of this research is the period of Russian symphonic music of the 1960s. A new generation of composers – the “Sixtiers” – introduced a fresh modern musical language and remarkable artistic achievements. In first part of the article, the author dwell on several fundamental symphonic works by R. Shchedrin, S. Slonimsky, E. Denisov, Y. Falik, N. Karetnikov, as well gives general characteristics to this period. The second part of the article examines the compositions by A. Schnittke and L. Prigozhin. Special attention is turned to the Symphony No.3 by Boris Tishchenko, who opens new stylistic horizons and encompasses the key trends of modern music, including the avant-garde, into his stylistic orbit. This article is first to consider B. Tishchenko's outstanding Symphony No.3 in the context of stylistic and linguistic innovations of the 1960s, which defines the scientific novelty. Analysis is conducted on the role and place of the youngest composer of the “Sixtiers” B. Tishchenko in the struggle for the “new music”. The conclusion is made that Tishchenko was one of the leaders in revival of the Russian music of the late XX century, and his Symphony No.3 reflects the pursuits of the postwar generation of Soviet composers to the fullest.

SOUND, MEANING AND MUSIC-DRAMA IN LACHENMANN'S DAS MÄDCHEN MIT DEN SCHWEFELHÖLZERN

Tempo ◽  
2014 ◽  
Vol 68 (268) ◽  
pp. 20-33
Author(s):  
Laurence Osborn
Keyword(s):  
Theoretical Framework ◽  
Musical Language ◽  
Search For Meaning ◽  
Cognitive Capacities ◽  
Music Drama ◽  
Avant Garde ◽  
Unique Approach ◽  
The 1960S ◽  
Musique Concrete ◽  
Cultural Baggage

AbstractThis article argues that Das Mädchen mit den Schwefelhölzern demonstrates a unique approach to music-drama that stems from the perceptual capacities of listeners, and their desire to search for meaning in what they hear. Beginning with the claim that Das Mädchen mit den Schwefelhölzern can be viewed as the culmination of an aesthetic project begun at the point of Lachenmann's emergence as a distinctive voice of the European avant-garde during the 1960s, the article first examines two major aspects of Lachenmann's aesthetics – musique concrète instrumentale and aura – outlining a composing philosophy that has been at the heart of Lachenmann's practice throughout his career. The article claims that Lachenmann sought to establish a rejuvenated semiotics, freed from cultural baggage and tied to the perceptual and cognitive capacities of listeners. Drawing upon the studies of Naomi Cumming and Luke Windsor, it outlines a theoretical framework that takes into account this composing philosophy and its implications, applying it in analyses of various excerpts from Das Mädchen mit den Schwefelhölzern. My analysis illuminates a music-drama that forms around the interplay of internally represented images and sensations, the emergence of which is facilitated by a musical language that prepares sounds to take on certain types of meaning. The article concludes with a brief discussion of the possible implications this has for audience members.

Sign in / Sign up

Export Citation Format

Share Document