Nuove Musiche最新文献_第2页

Dissuasori d'invenzione: i clichés musicali fra l'attrattore-tradizione e il vettore-creazione 发明的威慑:介于传统和载体创作之间的音乐陈词滥调

Nuove Musiche Pub Date : 1900-01-01 DOI: 10.12871/97888674184286

Pierluigi Basso Fossali

{"title":"Dissuasori d'invenzione: i clichés musicali fra l'attrattore-tradizione e il vettore-creazione","authors":"Pierluigi Basso Fossali","doi":"10.12871/97888674184286","DOIUrl":"https://doi.org/10.12871/97888674184286","url":null,"abstract":"Desormais, l’etiquette “musique classique contemporaine” cherche a convertir sa definition historique en un genre intemporel, ce qui ne peut qu’avoir des retombees sur ses figures aussi, lesquelles, si definitoires ou immediatement reconnaissables, ont deja subi de toute evidence un figement. La preservation institutionnelle d’une tradition doit trouver une conciliation avec sa vitalite innovatrice, ce qui ne peut que problematiser la relation de la composition avec un patrimoine semiotique des formes historicisees. Avant de juger la musique contemporaine, il faut reflechir davantage sur une serie de notions: cliche, stereotype, topos, motif. Le geste enonciatif du compositeur doit prendre des decisions qui concernent l’arriere-plan d’ecriture et de reception de sa musique: il peut se deplacer dans un paysage de differences deja appreciees en tant que telles, ou il peut avancer sans cartographie prealable afin de reperer un ecart entre des portions de la culture (topiques) qui reste a explorer; il peut avoir confiance en l’efficience d’une certaine syntaxe qui deploie une serie d’effets de sens, ou il peut fuir tout reglage combinatoire de variables qui serait immediatement performatif. En realite, le compositeur doit operer un geste car il n’y a pas la possibilite de choisir une option de maniere unilaterale et il faut se mettre de biais aussi bien face a l’attrait conservateur de l’histoire qu’a la creativite dechainee. Cette implication du compositeur ne peut que se projeter aussi sur la position du musicologue aussi: si l’analyse se veut non-evaluative, on a du mal a comprendre comment elle pourra problematiser le neuf par rapport au patrimoine generatif de formes musicales (langages et normes) ou defendre la reprise d’un motif tel quel, elabore eventuellement par le biais d’un loop.","PeriodicalId":340862,"journal":{"name":"Nuove Musiche","volume":"8 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":"115127638","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

Andrea Agostini, gli atomi che si accendevano e radiavano, for barytone saxophone and live electronics : from the neutral to the poietic level Andrea Agostini，为barytone saxophone和live electronics:从中性到多级

Nuove Musiche Pub Date : 1900-01-01 DOI: 10.12871/97888333972144

Fabio De Sanctis De Bendictis

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Jonathan Harvey's String Quartets Nos. 1 and 2 乔纳森·哈维的第一和第二弦乐四重奏

Nuove Musiche Pub Date : 1900-01-01 DOI: 10.12871/97888333922334

Juri Seo

引用次数: 2

Tombeau de Messiaen, ovvero del dualismo armonia/timbro Tombeau de Messiaen，意思是二元论和声/音色

Nuove Musiche Pub Date : 1900-01-01 DOI: 10.12871/97888333922335

Marcela Pavia

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Il miracolo del nuovo e l'enigma del diverso, ovvero come evitare il successo artistico ed essere felici: Boris Groys e John Cage 新事物的奇迹和新事物的谜——如何避免艺术上的成功和快乐——鲍里斯·格罗伊斯和约翰·凯奇

Nuove Musiche Pub Date : 1900-01-01 DOI: 10.12871/97888674184287

Leonardo V. Distaso

引用次数: 0

Expanded music : the technological extension of body and instrument in Simon Steen-Andersen's Piano Concerto (2013/14) 扩展音乐:西蒙·斯蒂恩-安徒生钢琴协奏曲(2013/14)中身体与乐器的技术延伸

Nuove Musiche Pub Date : 1900-01-01 DOI: 10.12871/9788833395375

Stefan Drees

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Editoriale 编辑

Nuove Musiche Pub Date : 1900-01-01 DOI: 10.12871/97888674184281

Andrée Tabouret-Keller

引用次数: 0

Le farfalle di Inger Christensen, 1991, e di Francesco Pennisi, 2000: su fiori di parole, su fiori di colori; a Brajcino nell'aria meridiana, a Fleri prima dell'eclisse 英格·克里斯滕森(Inger Christensen, 1991)和弗朗西斯科·彭尼西(Francesco Pennisi, 2000)的《蝴蝶》(floor of floor)。日晷上的布雷杰诺，日蚀前的弗雷里

Nuove Musiche Pub Date : 1900-01-01 DOI: 10.12871/97888674184289

P. Carapezza

{"title":"Le farfalle di Inger Christensen, 1991, e di Francesco Pennisi, 2000: su fiori di parole, su fiori di colori; a Brajcino nell'aria meridiana, a Fleri prima dell'eclisse","authors":"P. Carapezza","doi":"10.12871/97888674184289","DOIUrl":"https://doi.org/10.12871/97888674184289","url":null,"abstract":"«Poetry must be music» (Umberto Saba): «fictio rhetorica in musica posita» (Dante). Cesare Brandi tells about the musical constitution of logos (discourse); and I tell about the logical constitution of music. Inger Christensen (1935-2009), Danish poetess, and Francesco Pennisi (1934-2000), Sicilian composer of the same age, dedicate their last works to butterflies. Systemic poetry, strictly bound, and free, rhapsodic music. Visible butterflies and sound butterflies: described in words, translated in music. Butterfly wings, sonorous colours, light filigrees, diaphanous bright watercolours are all Pennisi’s creatures. Timbre is their privileged sound dimension. Last works, in limine mortis (on the threshold of death). What does death have to do with butterflies? Gotthold Ephraim Lessing explains that in his book Wie die Alten den Tod gebildet (1769) – How the Ancients Portrayed Death: as an overturned torch that dies down; and the soul is a butterfly that flies up from the deceased body. Angels too are butterflies: «… we are worms / born to form the angelic butterfly» (Dante). In 2008 Eben Alexander, an american brain surgeon, had a near-death-experience; in 2012 he told it in a book: after falling “into the dark… he found himself in a new world… surrounded by millions of butterflies”.","PeriodicalId":340862,"journal":{"name":"Nuove Musiche","volume":"6 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":"129101463","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

Questionario per i compositori 作曲家问卷

Nuove Musiche Pub Date : 1900-01-01 DOI: 10.12871/97888674184283

Helmut Lachenmann

引用次数: 0

L'ambiguità della musica in Jonathan Harvey: l'autopoietica del processo compositivo a confronto con l'immagine spettrale del suono 乔纳森·哈维(Jonathan Harvey)的音乐含糊不清:与声音的光谱图像相比，创作过程的自旋

Nuove Musiche Pub Date : 1900-01-01 DOI: 10.12871/97888333922574

Luigi Manfrin

引用次数: 0