{"title":"To the Concept of “Sound Object” in Musical Theory and Composition Practice of the End of the 20th — the Beginning of the 21st Century","authors":"S. V. Lavrova","doi":"10.21638/spbu15.2023.102","DOIUrl":null,"url":null,"abstract":"The article is devoted to the concept of “sound object”, fundamental category for music of the late 20th — early 21st century. It is considered from the standpoint of Pierre Schaeffer’s theory of concrete music, Helmut Lachenmann’s concrete instrumental music, Dennis Smalley’s spectromorphology, James Tenney’s gestalt theory, and is also interpreted within the philosophical framework of Graham Harman’s object-oriented ontology and Bruno Latour’s actornetwork theory. The works of Beat Furrer, Peter Ablinger and Georg Friedrich Haas are also analyzed. The conclusion from the research is that in order to interpret the concept and phenomenon of a sound object in modern compositional practice, which is extremely diverse, musicological methods are not enough, and therefore, an appeal to modern philosophy can contribute to a more accurate interpretation and help analyze the objects of modern sound world in all their diversity.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":null,"pages":null},"PeriodicalIF":0.1000,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.21638/spbu15.2023.102","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"HUMANITIES, MULTIDISCIPLINARY","Score":null,"Total":0}
引用次数: 0
Abstract
The article is devoted to the concept of “sound object”, fundamental category for music of the late 20th — early 21st century. It is considered from the standpoint of Pierre Schaeffer’s theory of concrete music, Helmut Lachenmann’s concrete instrumental music, Dennis Smalley’s spectromorphology, James Tenney’s gestalt theory, and is also interpreted within the philosophical framework of Graham Harman’s object-oriented ontology and Bruno Latour’s actornetwork theory. The works of Beat Furrer, Peter Ablinger and Georg Friedrich Haas are also analyzed. The conclusion from the research is that in order to interpret the concept and phenomenon of a sound object in modern compositional practice, which is extremely diverse, musicological methods are not enough, and therefore, an appeal to modern philosophy can contribute to a more accurate interpretation and help analyze the objects of modern sound world in all their diversity.
“声对象”是20世纪末至21世纪初音乐的基本范畴。从谢弗的具体音乐理论、拉赫曼的具体乐器音乐理论、斯莫利的光谱形态学、滕尼的完形理论等角度进行思考,并在哈曼的面向对象本体论和拉图尔的演员网络理论的哲学框架内进行阐释。本文还分析了垮掉的Furrer、Peter Ablinger和Georg Friedrich Haas的作品。研究的结论是,在现代创作实践中,要解释一个声音对象的概念和现象,这是极其多样化的,音乐学的方法是不够的,因此,诉诸现代哲学有助于更准确地解释和分析现代声音世界的对象的多样性。