Nuove Musiche最新文献

The music of Vito Žuraj

Nuove Musiche Pub Date : 1900-01-01 DOI: 10.12871/97888333972148

Luisa Antoni

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Timbral vectoriality: some considerations in the context of post-tonal music 音色矢量性:后调性音乐背景下的一些考虑

Nuove Musiche Pub Date : 1900-01-01 DOI: 10.12871/97888674173088

Nathalie Hérold

{"title":"Timbral vectoriality: some considerations in the context of post-tonal music","authors":"Nathalie Hérold","doi":"10.12871/97888674173088","DOIUrl":"https://doi.org/10.12871/97888674173088","url":null,"abstract":"This article addresses a number of issues concerning timbral vectoriality in post-tonal western art music.The fi rst part is devoted to theoretical considerations of timbral vectoriality as a key element in the perceptive experience of music, whereby vectoriality functions as a process encompassing succession, orientation, expectation, and tension. Such notions are taken to be beyond more purely aesthetic considerations, as evidenced by the notion of “time’s arrow”, and focus more on cognitive approaches to the real-time analysis of score-based music. To date, vectoriality has mainly focused on pitch analysis, but timbre has also given rise to studies about its role in both musical tension and musical closure. In non-tonal music, theoretical and experimental studies on timbral hierarchies and tension-release schemas have opened new paths for research into vectoriality without reference to the tonal system. The second part of the article focuses on the hierarchical analysis of timbre in Dutilleux’ Sur un meme accord, a short piano piece constructed on a basic “reference” chord. Using a method derived from Fred Lerdahl’s study on timbral hierarchies combined with sonogram analysis, the piece is divided into eight timbral units represented in the form of a syntactic tree. This analysis shows how the timbral tension at different structural levels can be represented, as well as the end-orientation of a piece in a post-tonal context. The last part of the article concerns the gestaltist analysis of timbre in Murail’sTerritoires de l’oubli, a piano piece based on gradual and highly nuanced timbral transformation. The method, derived from Stephane Roy’s gestaltist analysis, uses a graphic sonogram transcription. Sound resonance is used as a model for the elaboration of timbral patterns and sections of different temporal dimensions. This analysis reveals a spatial, fl exible, and – more importantly for the present study – vectorial conception of musical time in post-tonal music.","PeriodicalId":340862,"journal":{"name":"Nuove Musiche","volume":"82 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116095142","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}

引用次数: 0

The theory of harmonic tension and resolution during the 20th century 20世纪的谐波张力和分辨率理论

Nuove Musiche Pub Date : 1900-01-01 DOI: 10.12871/97888674173087

A. Colla

{"title":"The theory of harmonic tension and resolution during the 20th century","authors":"A. Colla","doi":"10.12871/97888674173087","DOIUrl":"https://doi.org/10.12871/97888674173087","url":null,"abstract":"Once the tonal system was overstepped, how did the composers solve the problem of ‘harmonic tension and resolution’? Why does a complex harmony create stress or quietness? What is the role of harmonic partials and what that of symmetries? How much does the context may change the perception of tension? What happens between chords and how to establish the degree of tension in the psychoacoustic shadow of the fi rst chord which fades into the second? Is it possible to calculate the vector of harmonic connection? How to get the maximal correlation of harmonic succession? How does the placement of the notes in acoustic space alter the synchronic tension? Is there a clear line of demarcation between consonance and dissonance? The concept of harmonic tension and resolution has intrigued music theorists and composers of all eras, but the radial explosion of numerous harmonic theories which began during the late 19th century created a basis for a diversifi ed contrast in positions, later resumed or thoroughly developed during the 20th century. The doctrinal progress that took place between the late 19th and early 20th centuries brought on a violent bifurcation. From then on, some composers and theorists pursued a strict analysis of symmetries while others explored the nuances of overtone harmony and timbre. Some of them focused their efforts on the theory of harmonic tension and resolution. The time has come to get answers and to acquire a perspective of the harmonic universe in its structural entirety.","PeriodicalId":340862,"journal":{"name":"Nuove Musiche","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125567446","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}

引用次数: 0

Time is on my side : The Rolling Stones 时间站在我这边:滚石乐队

Nuove Musiche Pub Date : 1900-01-01 DOI: 10.12871/97888333957916

Marco Ligabue

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Reverse engineering of a semiotic machine : on Dmitri Kourliandski's dasein 1&2 (To Say Nothing of III) 符号机器的逆向工程:论库尔连斯基的第1、2节(更不用说第3节)

Nuove Musiche Pub Date : 1900-01-01 DOI: 10.12871/97888333972146

Andrea Valle

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Alio modo: sulle trascrizioni bachiane di György Kurtág 主办:戈瑞öbachiane文本的库尔特·rgyág

Nuove Musiche Pub Date : 1900-01-01 DOI: 10.12871/978886741842810

Marilena Laterza

{"title":"Alio modo: sulle trascrizioni bachiane di György Kurtág","authors":"Marilena Laterza","doi":"10.12871/978886741842810","DOIUrl":"https://doi.org/10.12871/978886741842810","url":null,"abstract":"The use of pre-existing music in new works is a widespread practice in Gyorgy Kurtag’s output, considering the number of ‘recompositions’ that he has been writing since the Seventies. Among these, works such as the Officium breve in memoriam Andreae Szervanszky op. 28 and the Hommage a R.Sch. op. 15d have repeatedly been a subject of interest for musicologists, due to their complex construction and to the richness of their implications, whereas Kurtag’s more traditional piano transcriptions from Machaut to Bach have been neglected so far. Nonetheless, these transcriptions deserve our attention not only for their relatively large extent, but also for their intentional seeming naivety in a late postmodernist climate; moreover, Gyorgy and Marta Kurtag never miss the chance to play a selection of them in their concerts. This article, therefore, examines Kurtag’s transcriptions focusing particularly on the Bachian corpus mainly composed in the winter of 1985 after some choral preludes. Thanks to a close investigation of the rewriting techniques employed, Kurtag’s transcribing process proves to be constantly driven by an analytical insight, and thus aimed to an enhancement of the Bach’s fabric. Furthermore, these transcriptions show a subtle closeness between Kurtag’s and Bach’s approaches to the creative practice, which both of them conceive as a creatio alio modo, rather than ex nihilo.","PeriodicalId":340862,"journal":{"name":"Nuove Musiche","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129007697","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}

引用次数: 0

Les premiers contacts de Jonathan Harvey avec la technologie et la Set Theory, vers una pensée musicale à la fois structuraliste et spiritualiste 乔纳森·哈维第一次接触技术和Set理论，走向结构主义和精神主义的音乐思想

Nuove Musiche Pub Date : 1900-01-01 DOI: 10.12871/97888333922333

Bruno Bossis

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Musique & Spiritualité: l'ars bene modulandi de Jonathan Harvey 音乐与灵性:乔纳森·哈维的ars bene modulandi

Nuove Musiche Pub Date : 1900-01-01 DOI: 10.12871/97888333922573

P. Castanet

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Hyper as a principle : process and error in the work of composer Alexander Schubert Hyper作为一个原则:作曲家舒伯特作品中的过程和错误

Nuove Musiche Pub Date : 1900-01-01 DOI: 10.12871/97888333957914

Monika Voithofer