Opera, Anti-opera, Anti-Anti-opera. On the Issue of the Musical Theatre's Evolution in the 1960s-1970s

10.34690/183 ◽  
2021 ◽  
pp. 130-141
Author(s):  
Надежда Аркадьевна Карпун
Keyword(s):  
Musical Theatre ◽  
New Music ◽  
Music Theater ◽  
The 1960S ◽  
Dialectical Opposition

Статья посвящена проблеме эволюции музыкального театра в 1960-1970-е годы. Появление в данный период целого ряда произведений, декларирующих деконструкцию, разрушение существующих канонов и традиций музыкально-театрального искусства дало начало диалектическому противостоянию традиционного оперного и нового антиоперного направлений. В статье предпринимается попытка осмыслить природу антиоперы и пришедшей ей на смену антиантиоперы, оценить их значение для развития нового музыкального театра, сформулировать ключевые особенности данных феноменов. The article is devoted to the problem of the musical theatre's evolution in the 1960s-1970s. The appearance of a number of works declaring a deconstruction of existing canons and traditions of the musical theatre gave rise to dialectical opposition between opera and anti-opera. An attempt is made to reflect on the nature of antiopera and anti-antiopera that replaced it, define their significance for the development of New Music Theater, and formulate the essential features of these phenomena.

The New Music Theater

2008 ◽  
Author(s):  
Eric Salzman ◽  
Thomas Desi
Keyword(s):  
New Music ◽  
Music Theater

Recent developments in Hong Kong's New Music Theater scene: interviews with three local artists

2020 ◽  
Vol ahead-of-print (ahead-of-print) ◽  
Author(s):  
Priscila H.F. Chu
Keyword(s):  
Hong Kong ◽  
Relevant Literature ◽  
New Music ◽  
Original Form ◽  
Music Theater ◽  
Content Type ◽  
Text Design ◽  
Visual Elements ◽  
Art Form ◽  
Recent Developments

PurposeCollaborative arts incorporate theatrical elements including sound, movement, text, design, technology and visual elements into a synthetic original form of art. This paper examines a sub-category of collaborative arts, New Music Theater, in the contemporary context from the 1980s onwards in Hong Kong.Design/methodology/approachInterviews with artists Kung Chi Shing, Steve Hui and Amy Chan exhibit their personal creative and collaborative experiences.FindingsThese interviews provide a view of the current practice of New Music Theater in Hong Kong.Originality/valueThis paper highlights the emergence of a new art form in Hong Kong and fills a gap in the relevant literature.

London, South Bank and RAM: ‘Omaggio: a Celebration of Luciano Berio’

Tempo ◽  
2005 ◽  
Vol 59 (231) ◽  
pp. 41-44
Author(s):  
Malcolm Miller
Keyword(s):  
20Th Century ◽  
Electronic Music ◽  
Royal Academy ◽  
New Music ◽  
Luciano Berio ◽  
The South ◽  
Wide Range ◽  
The 1960S

The fortnight-long celebration Omaggio to the late Luciano Berio, held 15–30 April 2004, explored the post-modern passion and exuberance of the composer's musical personality, from the experimental daring and fun of the era of new music of the 1960s to the more searching multi-cultural tapestries of the final decades and his last works. Large audiences drawn from all ages enjoyed a wide range of Berio's works at the South Bank Centre and the Royal Academy of Music, including several UK premières including Stanze, his last work, as well as seminal pieces such as Sinfonia, Laborintus II, the fourteen Sequenzas, and electronic music, performed by leading virtuosi and ensembles. Overall, the festival represented a significant and memorable tribute to one of the leading figures of new music in the second half of the 20th century.

scholarly journals Boris Tishchenko and the new generation of Soviet composers of the 1960s: political and economic context

2021 ◽  
pp. 56-72
Author(s):  
Iurii Eduardovich Serov
Keyword(s):  
Soviet Union ◽  
Music Education ◽  
New Music ◽  
Complex Processes ◽  
The Soviet Union ◽  
Wide Range ◽  
The Government ◽  
The 1960S ◽  
Russian Composers ◽  
New Generation

The subject of this research is the period of the Russian symphonic music of the early 1960s. The scene saw the emergence of a new generation of composers – the so-called “Sixtiers”, making themselves known with remarkable artistic achievements, novel and modern musical language. Emphasis is place on such aspects of the topic, as the system of music education that established in the Soviet Union by the mid XX century, sustained material affluence of the Soviet composers, and ideological pressure of the government in return for such care. Special attention. Special attention is given to the new artistic opportunities for the young Russian composers that emerged as a result of the political “thaw”. The scientific consists in introduction into the scientific discourse of a wide range of memoir literature and critical articles of the representatives of the “new wave” movement, as therefore, a more comprehensive understanding of the complex processes that unfolded in the Soviet academic music. A detailed analysis is conducted on the role and place in the struggle for “new music” of the youngest musician out of the “Sixtiers” – a prominent Russian symphonist of the XX century Boris Ivanovich Tishchenko (1939 – 2010). The main conclusion is reflected in the thought on a certain triumph of the School of Soviet Composers and the system of music education, which is most clearly described by the last three decades of the existence of the Soviet Union.

Some Notes on the Origins of New Music-Theater

Theater ◽  
2000 ◽  
Vol 30 (2) ◽  
pp. 9-23 ◽  
Author(s):  
E. Salzman
Keyword(s):  
New Music ◽  
Music Theater

Karel Goeyvaerts: a Belgian Pioneer of Serial, Electronic and Minimal Music

Tempo ◽  
1996 ◽  
pp. 2-5
Author(s):  
Mark Delaere
Keyword(s):  
Repetitive Element ◽  
New Music ◽  
Founding Father ◽  
Karlheinz Stockhausen ◽  
Basic Principles ◽  
The Core ◽  
Minimal Music ◽  
The 1960S ◽  
Serial Works ◽  
Artistic Legacy

‘From now on, I will accept only Karel Goeyvaerts as my teacher in composition’ exclaimed the young Karlheinz Stockhausen during the famous New Music Summer Courses at Darmstadt in 1951. Goeyvaerts had just explained the very principles of serial organization for which Stockhausen had been searching for some time. In the following years Goeyvaerts 1923–1993) developed those basic principles into variety of composition techniques, and into a stylistic diversity not often encountered in serious music. After having applied serialism to tapegenerated music in the early 1950s and to experimental and aleatoric procedures in the 1960s, Goeyvaerts developed the repetitive element, already couched in some of his serial works, during the 70s and 80s. In his last period, the Belgian composer did not eschew a return to tonality, without however foresaking the core of serial thinking of which he had been the founding father. For many of these tendencies Goeyvaerts was the forerunner; to others he added valuable contributions. Therefore, his artistic legacy should be evaluated against the work of other European avantgarde composers such as Stockhausen or Boulez, or put into perspective by comparing it with the work of his American colleagues such as Babbitt, Carter, Riley or Glass.

Toward a Theory of the New Music Theater

2008 ◽  
pp. 309-341
Author(s):  
Eric Salzman ◽  
Thomas Desi
Keyword(s):  
New Music ◽  
Music Theater
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