På Sporet Af Else Marie Pades Konkrete Musik
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A-PDF Merger DEMO : Purchase from www.A-PDF.com to remove the watermark På sporet af Else Marie Pades konkrete musik En analyse af den æstetiske forbindelse mellem Else Marie Pades Symphonie magnétophonique og Pierre Schaeffers musique concrète Speciale ved Stine Kvist Jeppesen Afdeling for Musikvidenskab Institut for Æstetiske Fag, Aarhus Universitet Vejleder: Erling Kullberg Den 24. juli 2010 Forsidebilledet er en visualisering af en passage fra Else Marie Pades Symphonie magnétophonique, skabt af den grafiske designer Lisbeth Damgaard i 2006. Damgaards visuelle fortolkning af musikken er skabt med udgangspunkt i spektrogrammer fra det originale værk. De blå, brune, gule og grønne farver illustrerer lyden af hhv. lærketrille, fuglesang, mælkemandsfløjt og mælkeflasker, som er de lyde, der indleder Pades Symphonie magnétophonique. Billedet er hentet fra bogen Else Marie Pade og Symphonie magnétophonique, der er redigeret af Inge Bruland i 2006. Abstract This master thesis investigates to which extend it is possible to categorise the works of Danish composer Else Marie Pade (1924‐) as musique concrète, a term often used in Danish music research and critique to descibe Pade’s music. The thesis presumes that the appraisal of Pade’s music as musique concrète rests on a reduced understanding of musique concrète, inasmuch as this has only been sporadic and cursorily accounted for in a Danish context. To make a scholarly qualified reappraisal of Pade’s pioneer works of musique concrète, the master thesis will investigate the aesthetic link between Pades Symphonie magnétophonique and the music and aesthetics of the French composer and founder of musique concrète Pierre Schaeffer. The first two parts of the thesis will include an introduction to Pade’s work as well as an account and discussion of the reception of her music. The third part will discuss the aestethic aspects of Schaefferean musique concrete as expressed in his theoretical works A la recherche d’une musique concrète (1948‐1952) and Traité des objets musicaux (1966). Here Schaeffer stresses the link between musique concréte and the philosophical school of phenomenology, a link absent in the general appraisal of Pade’s music. Inspired by Edmund Husserl’s phenomenology Schaeffers notion of musique concréte deliberately seeks to eliminate the contextual meaning of recorded sounds, while other aesthetic movements aim to elucidate the meanings of the sounds and their references to their sources. In order to discuss Pade’s work a mentioning of these other movements will also be present in the thesis. In the fourth part of the master thesis an analysis of Pade’s work Symphonie magnétophonique (1958), will be carried out. In addition to Sheaffer’s theories the analysis will be based on Lawrence Ferrara’s phenomenological inspired method, as it involves a clear distinction between abstract sound and sound which carries a meaning. The Symphonie magnétophonique deliberately plays on the meaning and sources of the sounds and therefore renounces a great part of the aesthetic heritage of Schaeffer. Ferrara’s phenomenological approach thereby seems adequate, as Symphonie magnétophonique on closer inspection should not be defined as pure musique concrète. The master thesis argues that the Symphonie magnétophonique has a hybrid nature, as it contains sound which refers to a certain narrative as well as abstract sound. Hereby the symphony lacks one of the main characteristics of musique concrète. Furthermore Pade antedates other aesthetics of music based on recorded sound such as the Soundscape aesthetic, which deliberately works with the meanings and the sources of the sounds. The thesis suggest symphonic radio play as a more suitable categorisation of Symphonie magnétophonique as this term captures both the narrative aspects of the sounds as well as the musical symphonic structure to which they have been adjusted. Indledning _____________________________________________________________________ 3 Terminologi og afgrænsning ____________________________________________________________ 5 Anvendte kilder og anvendt teori ________________________________________________________ 6 Fremgangsmåde og metode ____________________________________________________________ 8 Del 1: Præsentation_____________________________________________________________ 10 Introduktion til Else Marie Pades musikalske produktion____________________________________ 10 Del 2: Receptionshistoriske perspektiver på Else Marie Pade ___________________________ 16 ReCeption af Else Marie Pade 1954‐2001 _________________________________________________ 17 Musikkritikkens reception af uropførelsen af Symphonie magnétophonique ____________________________ 17 Musikhistorisk reception af Pade 1967‐2001 _____________________________________________________ 20 ReCeption af Else Marie Pade efter 2001 _________________________________________________ 22 ’Genopdagelsen’ af Else Marie Pades elektroakustiske pionerstatus ___________________________________ 22 Danske definitioner af konkret musik ___________________________________________________________ 25 Opsamling__________________________________________________________________________ 27 Del 3: Lydens æstetik i det 20. århundrede __________________________________________ 30 Indledning__________________________________________________________________________ 30 Reallydens dobbelttydighed: lyd som klang og lyd som betydningsbærende fænomen____________ 31 Æstetiseringen af støj og ikke‐musikalske lyde før 1945 _____________________________________ 35 Lyden af de industrialiserede og urbane omgivelser: Den futuristiske støjæstetik hos Luigi Russolo (1885‐1947) 35 Støjen bliver musikalsk – æstetikken hos Edgar Varèse (1883‐1965) ___________________________________ 38 Konkret musik – en æstetisering af optaget lyd____________________________________________ 40 De første eksperimenter og æstetiske refleksioner i A la recherche d’une musique concrète________________ 42 Den konkrete musiks æstetik– Lydobjektet og de fire Lytteattituder___________________________________ 46 Schaeffers fænomenologiske udgangspunkt ______________________________________________________ 52 Lyd og betydning i Schaeffers konkrete musik ____________________________________________________ 56 Nyere æstetiske positioner inden for reallydsbaseret musik ‐ den anekdotiske musik og soundsCapeæstetikken _______________________________________________________________ 58 Opsamling__________________________________________________________________________ 60 Del 4: Musik og betydning i Else Marie Pades Symphonie magnétophonique ______________ 62 Metodiske overvejelser – et forsøg på at opstille en adækvat analysemetode___________________ 62 Denis Smalleys spektromorfologi og François Delalandes receptionsorienterede analysemetoder ___________ 63 Ferraras fænomenologiske musikanalyse ________________________________________________________ 65 Ferraras metode ____________________________________________________________________________ 68 Musikfænomenologisk analyse af Symphonie magnétophonique _____________________________ 71 Indledning_________________________________________________________________________________ 71 Åben lytning _______________________________________________________________________________ 73 1 Det syntaktiske niveau _______________________________________________________________________ 75 Det semantiske niveau _______________________________________________________________________ 81 Det ontologiske niveau_______________________________________________________________________ 85 Symphonie magnétophonique: konkret pionerværk eller moderne hørespil? ___________________ 91 Konklusion ____________________________________________________________________ 96 Litteraturliste__________________________________________________________________ 99 Andre medier ______________________________________________________________________ 103 Radioprogrammer _________________________________________________________________________ 103 Håndskrifter ______________________________________________________________________________ 103 Avisartikler og anmeldelser __________________________________________________________________ 103 Andet pressemateriale ______________________________________________________________________ 104 Diskografi _________________________________________________________________________ 104 Bilag ________________________________________________________________________ 106 Oversigt over bilag __________________________________________________________________ 106 Bilag 1: Eksempel Cd_________________________________________________________________ 107 Bilag 2: Fortegnelse over Else Marie Pades værker ________________________________________ 108 Bilag 3: Liste over udgivelser og opførelser af Else Marie Pades værker samt bogudgivelser, udstillinger, konCerter foredrag mm. om Pades liv og værk i perioden 1983‐2010 _________________________ 112 Bilag 4: Anmeldelser af uropførelsen af Symphonie magnétophonique og Syv cirkler i radioprogrammet ”Musik i Atomalderen” 1959__________________________________________________________ 116 Bilag 5: Skematisk oversigt over de anvendte lyde og de tekniske manipulationer deraf i Symphonie magnétophonique __________________________________________________________________ 121 2 Indledning De danske musikforskere Henrik Marstal og Ingeborg Okkels skabte med artiklen ”Else Marie Pade. Den konkrete musik og virkelighedens lydkuppel” i DMT (Dansk Musik Tidsskrift) i 2001 offentlig