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Principles of Music Composing: Muzikos Komponavimo Principai

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Principles of Music Composing: Muzikos Komponavimo Principai Lietuvos muzikos ir teatro akademija Lithuanian Academy of Music and Theatre Lietuvos kompozitorių sąjunga Lithuanian Composers’ Union 18-oji tarptautinė 18th International muzikos teorijos konferencija Music Theory Conference Vilnius, 2018 lapkričio 13–15 Vilnius, 13–15 November 2018 MUZIKOS PRINCIPLES KOMPONAVIMO OF MUSIC PRINCIPAI: COMPOSING: nuo audijavimo Links between Audiation link komponavimo and Composing XVIII Vilnius Lietuvos muzikos ir teatro akademija 2018 ISSN 2351-5155 REDAKcinė KOlegija / EDITOrial BOarD Vyr. redaktorius ir sudarytojas / Editor-in-chief Prof. Dr. Rimantas Janeliauskas Redaktoriaus asistentai / Assistant editors Assoc. prof. Marius Baranauskas Aistė Vaitkevičiūtė Nariai / Members Prof. James Dalton (Bostono konservatorija, JAV / Boston Conservatory, USA) Dr. Bert Van Herck (Naujosios Anglijos muzikos konservatorija, JAV / New England Conservatory of Music, USA) Dr. Mark Konewko (Diedericho komunikacijos koledžas, Marquette’o Universitetas, JAV / Diederich College of Communication at Marquette University, USA) Prof. Dr. Antanas Kučinskas (Lietuvos muzikos ir teatro akademija / Lithuanian Academy of Music and Theatre) Assoc. prof. Dr. Ramūnas Motiekaitis (Lietuvos muzikos ir teatro akademija / Lithuanian Academy of Music and Theatre) Dr. Jānis Petraškevičs (Latvijos Jāzepo Vītuolio muzikos akademija, Latvija / Jāzeps Vītols Latvian Academy of Music, Latvia) Prof. Dr. Pavel Puşcaş (Muzikos akademija Cluj-Napoca, Rumunija / Music Academy Cluj-Napoca, Romania) Prof. Roger Redgate (Goldsmito Londono universitetas, Anglija / Goldsmiths University of London, England) Dr. Gundega Šmite (Latvijos Jāzepo Vītuolio muzikos akademija, Latvija / Jāzeps Vītols Latvian Academy of Music, Latvia) Assoc. prof. Dr. Mārtiņš Viļums (Lietuvos muzikos ir teatro akademija / Lithuanian Academy of Music and Theatre) Prof. Miloš Zatkalik (Belgrado menų universitetas, Serbija / University of Arts in Belgrade, Serbia) Straipsniai recenzuoti peer review / Peer-reviewed articles Redagavo / English language editor Zuzana Šiušaitė Santraukas vertė / Summaries translated by Aistė Vaitkevičiūtė Lietuviškus tekstus redagavo / Lithuanian language editor Aušra Gapsevičienė © Lietuvos muzikos ir teatro akademija, 2018 © Rimantas Janeliauskas, sudarymas / Compilation, 2018 Turinys / Contents Pratarmė . 4 Foreword . 5 1 audiacija ir komponavimo procesas: Teorinė ir Technologinė perspekTyva AUDIATion and COMPOSITional PROCESS: THEORETical and TECHNOLOGICAL PERSPECTIVES Bert Van Herck. Audiation: What to Listen for? . 9 Roger Redgate. Do You Hear What I Hear? Audiation and the Compositional Process . 19 Miloš Zatkalik, Aleksandar Kontić. Tunes of Today from the Island of the Day Before . 29 Rimantas Janeliauskas. The Archetype of Binary Modality and its Audiation in the Practice of Composing: Manifestations of Ethnic Patterns in the First Half of the 20th Century . 35 Sigitas Mickis. Targeting the Three Dimensions of Auditory Imagery in the Creative Process of Composing: Models of Rhythmic Expression . 54 2 audiacinės Tendencijos ir jų raiška šiuolaikinėje muzikoje audiaTion Tendencies and Their manifesTaTion in conTemporary music Božena Čiurlionienė. Prohibition versus Apotheosis of a Tritone: A Historical Perspective . 67 Raimonda Žiūkaitė. The Audiation of aT riad and its Rejection in the Composing Process . 79 Andrius Maslekovas. Peculiarities of Pitch Audiation in the Explorations of Sound Quality . 90 Aistė Vaitkevičiūtė. Audiating Timbre: From “Inside the Materia” to a Textural Prototype . 98 Martin Vishnik. Understanding and Interpreting Classical Guitar Morphologies within the Sound Sculpting Arena . 112 Maja Bosnić. Technology Assisted Audiation in New Composing Practice . 121 3 audiaciniai kompoziTorių sTilisTikos ir evoliucijos aspekTai audiaTion aspecTs in relaTion To creaTive evoluTion and Style Stephan Lewandowski. “Organized Post-Tonality” and its Aural Perception. The Interaction of Primary and Composite Segments in Schoenberg’s Piano Piece Op. 23, No. 2 . 133 Mark Konewko. Audiation and Improvisation as they Relate to Synesthesia in the Organ Music of Olivier Messiaen . 140 Alastair White. “For me the greatest measure of a work of art is if it makes me feel uncomfortable or excites me sexually”: A Lacanian Reading of Michael Finnissy’s Verdi Transcriptions . 145 Apie autorius / About the authors . 153 Pratarmė Šis leidinys – tai mokslinių straipsnių rinktinė, sudaryta remiantis 18-osios tarptautinės muzikos teorijos kon- ferencijos „Muzikos komponavimo principai: nuo audijavimo link komponavimo“ pranešimais. 2018 m. lapkričio 13–15 d. Vilniuje vykusią konferenciją surengė Lietuvos muzikos ir teatro akademija ir Lietuvos kompozitorių sąjunga. Konferencijoje savo idėjas pristatė bent dvi dešimtys muzikologų ir kompozitorių iš Lenkijos, Serbijos, Lietuvos, Jungtinės Karalystės, JAV, Vokietijos, Rusijos, Ukrainos. Moksliniai straipsniai sugrupuoti į tris potemes. I potemė – Audiacija ir komponavimo procesas: teorinė ir technologinė perspektyva. Audiaciją, kaip pirmi- nę kompozitoriaus santykio su skambesiu manifestaciją, iš kurios kyla komponavimo ypatumai, autoriai nušviečia skirtingai. Berto Van Hercko nuomone, audiacija yra kūrybinio proceso dalis. Pagal tai, kaip kompozitorius garsu sukuria prasmę, priklauso skambesio audijavimo pobūdis bei traktuotės ypatumai kompozicijoje (procesas, forma ir pan.). Rogerio Redgate’o akiratyje – analitinis audiatyvinis procesas, kuris pasitelkiant notaciją introspektyviai nusakomas a) kaip pirminis skambesio supratimas, b) prasminga jo plėtotė ir c) reiškinio įvaldymas. Audiacija kaip lūkestis arba tęstinumas, bendraautorių Aleksandaro Kontićiaus ir Milošo Zatkaliko teigimu, yra pasąmoninis ge- bėjimas reprezentuoti fiziškai neskambantį skambesį. Ši galia glūdi tiek kompozitoriaus, tiek klausytojo mentalitete ir yra nepakeičiama komponuojant. Autoriai darbe pasitelkia psichoanalizės konceptus (id, ego, fort-da game, dali- nis objektas ir kt.). Spontaniško pirmapradžio (archajiško) kūrėjo santykio su skambesiu audijavimas šiuolaikinėje muzikoje yra Rimanto Janeliausko pasirinkta tema. Sigitas Mickis siekia susisteminti įvairias ritmo audijavimo strategijas, leidžiančias atsiskleisti kompozitoriaus individualumui. II potemė – Audiacinės tendencijos ir jų raiška šiuolaikinėje muzikoje. Akcentuodami vieną ar kitą muzi- kos elementą ar darinį (intervalą, struktūrą, sintagmą ir pan.), straipsnių autoriai užčiuopia kai kurias bendresnes audijavimo tendencijas šiuolaikinėje muzikoje. Kintantis tritonio intervalo audijavimas (prohibition vs apotheosis), pasak Boženos Čiurlionienės, inspiravo nemažai naujų komponavimo principų, sistemų, procesų. Raimonda Žiū- kaitė aptaria nuo audijavimo nepriklausančių neo-rymaniškųjų triadų manipuliacijų apraiškas šiuolaikinėje lietuvių muzikoje. Andrius Maslekovas nagrinėja tarpmodalinius muzikinių parametrų (tono aukščio ir skambesio kokybės) ryšius ir iš jų kylantį audijavimo modelių susiliejimą šiuolaikinėje muzikoje. Frakcionavimo ir susilydymo struktūrų poliarizaciją, audijuojant tembrą šiuolaikinėje muzikoje, tyrinėja Aistė Vaitkevičiūtė. Martinas Vishnickas siūlo praplėsti pedagoginę audijavimo sistemą, kuri padėtų suvokti naują klasikinės gitaros morfologiją ir tinkamai pa- naudoti išplėstines atlikimo technikas. Maja Bosnić mums pristato mažai išžvalgytą tyrimų lauką – technologijų veikiamus audiacijos metodus. Savo straipsnyje ji aptaria šiuolaikinių technologijų implementacijas įvairiais audiaci- jos lygmenimis, supažindina su technologiniais sprendimais savo bei kitų kompozitorių kūriniuose bei kūrybiniuose procesuose. III potemė – Audiaciniai kompozitorių stilistikos ir evoliucijos aspektai. Logiška manyti, kad be audijavimo nėra ir stiliaus. Tačiau audijuojama visuma nelengvai aprėpiama. Tad neatsitiktinai straipsnių autoriai susitelkia į atskirus šiuolaikinių kompozitorių stilistikos aspektus. Prisiliesdamas prie posttonalios Schoenbergo muzikos Stephanas Lewandowskis šalia klausa suvokiamo paviršinio skambesio atranda ir koegzistuojantį giluminį sluoksnį, atsiveriantį klausai tik po pastarojo teorinės seto analizės. Markas Konewko įvardija Messiano stilistikai būdingą vienovę, pasireiškiančią audijavimo, improvizavimo ir sinestezijos tarpusavio ryšiais. Analizuodamas Michaelio Fin- nissy „Verdi transkripcijas“ Alastairas White’as pasitelkia Jacques’o Lacano koncepciją, kad paaiškintų „tarpkultūri- nio peraudijavimo“ fenomeną. Baigdami apžvalgą pažymėsime, kad leidinio straipsniai gali būti diferencijuojami pagal pakraipas – mokslinę teorinę ir praktinę. Ir nors absoliučių ribų nėra, vienus straipsnius sąlygiškai galima išskirti kaip vertingesnius moks- liniu teoriniu požiūriu (autoriai: Bert Van Herck, Roger Redgate, Aleksandar Kontić ir Miloš Zatkalik, Riman- tas Janeliauskas, Sigitas Mickis, Božena Čiurlionienė, Andrius Maslekovas, Aistė Vaitkevičiūtė, Stephan Lewan- dowski, Mark Konewko, Alastair White), o kitus – praktiniu (autoriai: Raimonda Žiūkaitė, Martin Vishnick, Maja Bosnić). Tikimės, kad 18-osios muzikos teorijos konferencijos straipsnių rinktinė sulauks skaitytojų dėmesio ir bus įdo- mi kiekvienam besidominčiam šiuolaikinės muzikos audijavimo problemomis. Redakcinė kolegija tikisi skaitytojų dėmesio tiek čia, Lietuvoje, tiek užsienyje. Būsime dėkingi už visas pastabas ir atsiliepimus apie leidinį. Organizato- rių vardu dėkojame visiems rėmėjams ir rengėjams. Prof. dr. Rimantas Janeliauskas 4 Foreword This publication is a collection of articles of scientific and artistic research, which are based on the presentations made
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