Musical Composition in the Context of Globalization最新文献

2. The shō as a Medium of Alterity and Self-Referentiality in Helmut Lachenmann’s Music 2. 在赫尔穆特·拉赫曼的音乐中，“诗”是一种另类和自我参照的媒介

Musical Composition in the Context of Globalization Pub Date : 2021-12-31 DOI: 10.1515/9783839450956-021

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2. Space-Time Movements in György Ligeti’s Piano Concerto: Polymeter and Conflicting Meter in Historical and Intercultural Perspective 2. György里盖蒂钢琴协奏曲中的时空运动:历史与跨文化视角下的多拍子与冲突拍子

Musical Composition in the Context of Globalization Pub Date : 2021-12-31 DOI: 10.1515/9783839450956-023

G. Ligeti

{"title":"2. Space-Time Movements in György Ligeti’s Piano Concerto: Polymeter and Conflicting Meter in Historical and Intercultural Perspective","authors":"G. Ligeti","doi":"10.1515/9783839450956-023","DOIUrl":"https://doi.org/10.1515/9783839450956-023","url":null,"abstract":"The polyglot, boundary-defying conceptions of György Ligeti, driven by artistic curiosity, have been widely praised, and his collected writings published in German posthumously in 2007 impressively demonstrate the rhizome-like ramifications of his thinking in and about music, as also aptly demonstrated by the polymorphic vividness of the structures in his music since Apparitions (1958–59). From the very beginning, Ligeti, in his own energetic manner, absorbed impulses from often heterogeneous areas of the arts and sciences, and idiosyncratically interwove them into an asymmetrical, open maze of sounds and thoughts. Still, it should be emphasized how intensively, but also “art-typically” Ligeti engaged with scientific thinking, especially since the beginning of the 1980s, for example in the areas of chaos theory, fractal geometry, and artificial intelligence. At the beginning of his essay “Paradigmenwechsel der achtziger Jahre” (1988), Ligeti emphasizes that he does not write “‘scientific’ music, do[es] not use calculations, nor algorithms [...], realize[s] only [his] own ideas, but deal[s] with analogous ideas from other areas. Complexity or complex patterns have always attracted [him].”74 Not least, Ligeti’s view of European or indeed “global” music history was given new impetus by these search movements (for example, through the discovery of the ars subtilior) and a no less consequential turn toward music genres from Africa, Java, Bali, Melanesia, China, and Korea, with their specific structures and underlying ways of thinking.75 The reception of sub-Saharan African genres, which include the ensembles of ongo horns of the Central African Banda Linda, songs of the Aka pygmies, the kiganda music of the amadinda xylophones in Uganda as well as the mbira lamellophone music of the Shona in Zimbabwe, form just one layer in an eclectic chain of associations in Ligeti’s thinking and compositions in the 1980s. As outlined earlier in this book, intercultural reception processes in European music of the twentieth and twenty-first centuries have often been (and still are) integrated into comparably universalist aesthetic-conceptual designs, reaching out in a self-ref lexive and complex manner in the most diverse directions and determining a reception model that I have attempted to characterize with the term “interpenetration” (→ II.6). Such reception strategies proceed structurally, associatively, and transformatively and are based on analogous formations and cross-connections between different contexts and discourses – something that is particularly characteristic of Ligeti’s approach. In the case of sub-Saharan music, Ligeti’s particular interest was in gestalt paradoxes and illusionary effects, which are also ref lected in fractal geometry or M. C. Escher’s visual paradoxes, such as the waterfall or staircase, which seem to be constantly falling or rising but in","PeriodicalId":129124,"journal":{"name":"Musical Composition in the Context of Globalization","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128983533","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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4. Probing the Compositional Relevance of Cultural Difference: Key Tendencies of East Asian New Music Since the 1950s 4. 探讨文化差异的创作相关性:1950年代以来东亚新音乐的主要趋势

Musical Composition in the Context of Globalization Pub Date : 2021-12-31 DOI: 10.1515/9783839450956-017

{"title":"4. Probing the Compositional Relevance of Cultural Difference: Key Tendencies of East Asian New Music Since the 1950s","authors":"","doi":"10.1515/9783839450956-017","DOIUrl":"https://doi.org/10.1515/9783839450956-017","url":null,"abstract":"means, such as notes on paper or a discussion of theory. There are certain aspects of using instruments which are broader than one tradition of music. In tracing these techniques back to the original concepts we can find something hidden in these apparently very dif ferent traditions of Asia and [the] Pacific region. [...] I’m interested to start from how you produce the sound, instead of how you classify the sound. You make sound by contacting an instrument through your hand, finger or breath. Then there is a movement, a patterned movement, and you can start to combine those movements into larger units. [...] Let’s go back to the learning of music, the teacher and student, a one-to-one situation. The teacher plays a phrase, the student plays back a phrase. They play together. This is a copying, a synchronization of the movement of two dif ferent instruments. Another principle is response – you Example 3.19: Yūji Takahashi, The Song of the Blue Sword, Section D1 Copyright © 1980 by Yūji Takahashi, Tokyo III. Studies on the History and Analysis of New East Asian Music 231 play that and I play this in response. This is also a learning process which can be developed into the next phase, as in gamelan, for example [...].238 usually my approach to the traditional instruments is not from the written materials about register, timbres, playing method, etc., but through the actual collaboration with performers studying the hand movements, traditional disciplines. [...] i am trying to go back to the origin by changing the habitual playing methods accumulated through traditions. you may call it [...] anti-training. this is difficult without the cooperation of the performers for some period. also you cannot notate this part of the training on paper and send it [...] to the performers wherever they live in the world.239 These quotations make it clear how much the observational and ethnological approach helped Takahashi break away from the precarious polarities of cultural nationalism and cultural Westernization (to some degree represented by the position of the gendai hōgaku and preceding developments → III.1) as well as to liberate Japanese instruments from the widespread bias that assigns them a purely coloristic role: through careful observation and study of traditional performance practice, composer and performers reconstruct a kind of “physical archeology.” The performative approach becomes more concrete in that standardized sequences of body movements (kata) in ins trumental practice and the resulting sounds are considered complementary to each other. The confrontation with the most important musical instruments of bourgeois Edo culture (1600–1867), the arched zither koto and the long-necked lute shamisen, was the center of Takahashi’s attention for many years. Especially for Kazuko Takada (who died in 2007), and later also for Yumiko Tanaka and Yoko Nishi, a large number of works, for both solo instruments and chamber music ensembles em","PeriodicalId":129124,"journal":{"name":"Musical Composition in the Context of Globalization","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123473624","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Appendix 附录

Musical Composition in the Context of Globalization Pub Date : 2021-12-31 DOI: 10.1515/9783839450956-030

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Index 指数

Musical Composition in the Context of Globalization Pub Date : 2021-12-31 DOI: 10.1515/9783839450956-031

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Frontmatter

Musical Composition in the Context of Globalization Pub Date : 2021-12-31 DOI: 10.1515/9783839450956-fm

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5. Re-Reading the Impact of the “Cultural Cold War” on Music History: Cowell, Mayuzumi, Berio 5. 重新阅读“文化冷战”对音乐史的影响:Cowell, Mayuzumi, Berio

Musical Composition in the Context of Globalization Pub Date : 2021-12-31 DOI: 10.1515/9783839450956-012

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3. The Travels of a Jasmine Flower: A Chinese Folk Song, Its Prehistory, and Tan Dun’s Symphony 1997 3.《茉莉花游记:一首中国民歌、它的史前史与谭盾的交响曲》1997

Musical Composition in the Context of Globalization Pub Date : 2021-12-31 DOI: 10.1515/9783839450956-016

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2. Stratification and Analysis 2. 分层与分析

Musical Composition in the Context of Globalization Pub Date : 2021-03-31 DOI: 10.1515/9783839450956-026

Christian Utz

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1. Layered Fabric, Intertextuality, and Cultural Context: From Striated to Open Space 1. 分层结构、互文性和文化语境:从条纹到开放空间

Musical Composition in the Context of Globalization Pub Date : 2021-03-31 DOI: 10.1515/9783839450956-025

Christian Utz

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