DOCSLIB.ORG

Kubánská Krajina V Tvorbě Leo Brouwera

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Kubánská Krajina V Tvorbě Leo Brouwera JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Katedra strunných nástrojů Studijní obor kytara Kubánská krajina v tvorbě Leo Brouwera Diplomová práce Autor práce: BcA. Martin Lindtner Vedoucí práce: doc. Mgr. Vladislav Bláha ArtD. Oponent práce: prof. Martin Mysliveček Brno 2011 Bibliografický záznam LINDTNER, Martin. Kubánská krajina v tvorbě Leo Brouwera Cuban Landscape in Works of Leo Brouwer. Brno: Janáčkova akademie múzických umění v Brně, Hudební fakulta, Katedra strunných nástrojů, 2011. 69 s. Vedoucí diplomové práce doc. Mgr. Vladislav Bláha ArtD. Anotace Diplomová práce „Kubánská krajina v tvorbě Leo Brouwera“ je věnována sérii kompozic Paisaje cubano (Kubánská krajina) kubánského skladatele Leo Brouwera. Série Paisaje Cubano obsahující sedm skladeb různého obsazení spadá do Brouwerova třetího kompozičního období. To bývá označováno pojmem „New Simplicity“. Je závěrečnou etapou Brouwerovy tvorby a bývá charakterizováno jako fůze předešlého vývoje obohacená o nové kompoziční prvky. Práce si klade za cíl hlubší porozumění zmíněným skladbám. A to jak po stránce kompoziční, tak po stránce interpretační. Vychozím předpokladem práce je teze, ţe umělecké dílo nelze plnohodnotně analyzovat a tudíţ pochopit izolovaně, aniţ bychom se blíţe seznámili s jeho tvůrcem a v tomto konkrétním případě také s předchozím vývojem jeho tvorby. Z toho důvodu první část práce pojednává obecně o ţivotu a díle skladatele. Tím jsou poloţeny základy pro druhou stěţejní část práce. Ta se jiţ věnuje samotné sérii Paisaje cubano. Obsahuje podrobné analýzy dvou skladeb série: Paisaje cubano con lluvia (Kubánská krajina s deštěm) a Paisaje cubano con campanas (Kubánská krajina se zvony). Všechna díla vynikají obdivuhodným zpracováním jejich mimohudebního programu. Toho se podařilo skladateli dosáhnout zejména nápaditou prací se zvukovými moţnostmi kytary, nástroje, jemuţ je převáţná část skladeb série věnována. Z kompozičních stylů se Brouwer nejčastěji obrací k minimalizmu, který má v jeho pojeti intimní a meditativní charakter. Annotation Diploma thesis „Cuban Landscape in Works of Leo Brouwer“ deals with series of compositions called Paisaje Cubano (Cuban Landscape). They are written by cuban composer Leo Brouwer. The series Paisaje Cubano involves seven pieces for different instruments or ensembles. They were composed in the third period of 1 Brouwer’s compositional developement, which is called „New Simplicity“. This closing period of Brouwer’s output is characterized as fusion of previous progress enriched of new compositional elements. The goal of this thesis is deeper insight, both in terms of compositional and interpretative, into the formentioned compositions. The underlying assumption of the thesis is assertion that we can not adequately analyze and thus understand any work, without previous acquaintance with his creator and in this case also with developement of Brouwer’s compositional progress. Therefore, the first chapter depict Brouwer’s life and output in general. This chapter create backround for second central part of the thesis.This part deals with the Series Paisaje Cubano itself. It contains detailed analysis of two compositions: Paisaje cubano con lluvia (Cuban Landscape with Rain) and Paisaje cubano con campanas (Cuban Landscape with Carrilons). All works of the Series Paisaje cubano are great at proccesing their extra- musical program. It was achieved through creative work with sonoristic possibilities of guitar, the intrument, for whom is written most of these compositions. According to compositional styles was Brouwer most inspired by minimalism in the Series. His concept of minimalism is intimate and meditative. Klíčová slova Leo Brouwer, Paisaje cubano, kytara, analýza, minimalizmus, New Simplicity Key words Leo Brouwer, Paisaje cubano, guitar, analysis, minimalism, New Simplicity 2 Prohlášení Prohlašuji, ţe jsem předkládanou práci zpracoval samostatně a pouţil jen uvedené prameny a literaturu. Současně dávám svolení k tomu, aby tato diplomová práce byla umístěna v Knihovně JAMU a pouţívána ke studijním účelům. V Brně dne 3. května 2011 Martin Lindtner 3 Obsah: Úvod ............................................................................................................................. 5 1. Leo Brouwer – ke kořenům...................................................................................... 7 1.1 Leo Brouwer – ţivot........................................................................................... 7 1.2 Leo Brouwer – dílo .......................................................................................... 13 1.2.1 Vlivy a kořeny ........................................................................................... 13 1.2.2 Hudební řeč a ideje.................................................................................... 16 1.2.3 Kompoziční vývoj ..................................................................................... 21 1. období – rané (1955 – 1962) ...................................................................... 22 2. období – avantgardní (1962 – 70. léta) ...................................................... 23 3. období – „New Simplicity“ (80. léta - ) ..................................................... 25 2. Série Paisaje Cubano .............................................................................................. 32 2.1 Paisaje cubano con lluvia – Kubánská krajina s deštěm (1984) ...................... 36 2.1.1 Úvod .......................................................................................................... 36 2.1.2 Analýza skladby ........................................................................................ 38 2.1.3 Příspěvek k interpretaci ............................................................................. 44 2.1.4 Shrnutí ....................................................................................................... 48 2.2 Paisaje cubano con campanas – Kubánská krajina a zvony (1986) ................. 49 2.2.1 Úvod .......................................................................................................... 49 2.2.2 Analýza skladby ........................................................................................ 51 2.2.3 Příspěvek k interpretaci ............................................................................. 58 2.2.4 Shrnutí ....................................................................................................... 62 Závěr .......................................................................................................................... 64 Literatura .................................................................................................................... 66 4 Úvod Práce, která se Vám právě dostala do rukou, nese název Kubánská krajina v tvorbě Leo Brouwera. Je věnována sérii skladeb kubánského skladatele Leo Brouwera, jejichţ název začíná souslovím Paisaje cubano (Kubánská krajina). Práce je rozdělena do dvou kapitol. Přestoţe hlavním cílem nebylo udělat přehledovou práci, ve které by se čtenář dověděl základní informace o Brouwerově ţivotě a díle, je právě první kapitola věnována tomuto druhu informací. Její název zní Leo Brouwer-ke kořenům. První kapitola vytváří určité zázemí, které má čtenáři pomoci nahlédnout do Brouwerova světa v dostatečné míře, aby mohl následně hlouběji porozumět i samotným skladbám série Paisaje cubano. Jakékoli umělecké dílo totiţ nelze analyzovat izolovaně bez toho, aniţ bychom porozuměli myšlenkovému světu jeho tvůrce, coţ v posledních dvou stoletích platí obzvlášť. Druhá kapitola je věnována jiţ samotné sérii Paisaje cubano. Ta zahrnuje sedm skladeb různého obsazení. Stěţejním však zůstává Brouwerův výsostný nástroj kytara ať v komorním, či sólovém provedení. Rozsah práce neumoţňuje věnovat se všem skladbám ve stejném rozsahu. Proto jsme pro obšírnější analýzu vybrali pouze dva reprezentativní kusy: Paisaje cubano con lluvia pro kytarové kvarteto a Paisaje cubano con campanas pro kytaru sólo. U kaţdé z obou analyzovaných kompozic můţe čtenář po stručném úvodu věnovanému základním informacím očekávat jak podrobný rozbor díla samotného, tak několik intepretačních doporučení. O ostatních skladbách práce pojednává spíše okrajově. Všechny díla vynikají mistrným zpracováním mimohudebního programu, který je nastíněn jiţ v samotných názvech skladeb. V podstatě je vţdy dvojí. Jednak je céla série inspirována kubánskou krajinou (odtud také název práce), které Brouwer rozumí mnohem šířeji neţ pouze jako kubánské přírodě. Kubánskou krajinu v jeho pojetí utváří téměř vše, s čím se člověk v této zemi setkává: počínaje zmíněnou přírodou, přes historii, kulturu, umění aţ k lidem samotným. Mimo to má kaţdá skladba ještě další specifický program, který se ve většině případů rovněţ vztahuje k Brouwerově rodné zemi. Téma práce jsem zvolil, protoţe některé skladby série Paisaje cubano jsou součástí mého repertoáru (ať sólového nebo s Brněnským kytarovým kvaretem) jiţ řadu let a pořád neztrácejí nic ze své prvotní přitaţlivost, spíše naopak. Staly se pro 5 mě doslova „evergreenem“ v pozitivním slova smyslu. Díky tomu jsem se rozhodl podělit se s vámi o radost, poznatky i zkušenosti, které jsem načerpal při studiu těchto děl. 6 1. Leo Brouwer – ke kořenům První kapitola práce je nazvána „Leo Brouwer – ke kořenům“. To si zaslouţí krátké vysvětlení. Stěţejní náplní této práce je analýza série skladeb Paisaje cubano (Kubánská krajina). Tyto skladby byly zkomponovány ve třetím a zatím posledním vývojovém období Brouwerovy
Load more

Recommended publications
  • Pace Final 26.11.15
    Positions, Methodologies and Aesthetics in the Published Discourse about Brian Ferneyhough: A Critical Study Ian Pace1 Since Brian Ferneyhough achieved a degree of public recognition following the premiere of his Transit (1972-75) in March 1975 at the Royan Festival, a range of writings on and reviews of his work have appeared on a relatively regular basis. The nature, scope, style, and associated methodologies of these have expanded or changed quite considerably over the course of Ferneyhough's career––in part in line with changes in the music and its realization in performance––but nonetheless one can discern common features and wider boundaries. In this article, I will present a critical analysis of the large body of scholarly or extended journalistic reception of Ferneyhough's work, identifying key thematic concerns in such writing, and contextualizing it within wider discourses concerning new music. Several key methodological issues will be considered, in particular relating to intentionality and sketch study, from which I will draw a variety of conclusions that apply not only to Ferneyhough, but to wider contemporary musical study as well. Early Writings on Ferneyhough The first extended piece of writing about Ferneyhough's work was an early 1973 article by Elke Schaaf2 (who would become Ferneyhough's second wife),3 which deals with Epicycle (1968), Missa Brevis (1969), Cassandra's Dream Song (1970), Sieben Sterne (1970), Firecyle Beta (1969-71), and the then not-yet-complete Transit. Schaaf’s piece already exhibits one of the most
    [Show full text]
  • A Perspective of New Simplicity in Contemporary Composition: Song of Songs As a Case Study Isabel Maria Pereira Barata Da Rocha
    MESTRADO COMPOSIÇÃO E TEORIA MUSICAL A perspective of New Simplicity in contemporary composition: Song of Songs as a case study Isabel Maria Pereira Barata da Rocha 06/2017 A perspective of New Simplicity in contemporary composition: Song of Songs as a case study. Isabel Maria Pereira Barata da Rocha MESTRADO M COMPOSIÇÃO E TEORIA MUSICAL A perspective of New Simplicity in contemporary composition: Song of Songs as a case study Isabel Maria Pereira Barata da Rocha Dissertação apresentada à Escola Superior de Música e Artes do Espetáculo como requisito parcial para obtenção do grau de Mestre em Composição e Teoria Musical Professor Orientador Professor Doutor Eugénio Amorim Professora Coorientadora Professora Doutora Daniela Coimbra 06/2017 A perspective of New Simplicity in contemporary composition: Song of Songs as a case study. Isabel Maria Pereira Barata da Rocha Dedico este trabalho a todos os homens e todas as mulheres de boa vontade. A perspective of New Simplicity in contemporary composition: Song of Songs as a case study. Isabel Maria Pereira Barata da Rocha A perspective of New Simplicity in contemporary composition: Song of Songs as a case study. Isabel Maria Pereira Barata da Rocha Agradecimentos À minha filha Luz, que me dá a felicidade de ser sua mãe, pelo incentivo. Aos meus pais Ana e Luís, pelo apoio incondicional. A Ermelinda de Jesus, pela ajuda sempre disponível. À Fátima, à Joana e à Mariana, pela amizade profunda. Ao José Bernardo e aos avós Teresa e António José, pelo auxílio. Ao Pedro Fesch, pela compreensão e pela aposta na formação dos professores em quem confia.
    [Show full text]
  • Idyllwild Bible Church Want Cash Fast.” to Palm D Esert
    Real POSTMASTER: Dated material, please deliver April 4-6, 2012 Estate See page 15. Idyllwild Printed on 40% minimum recycled newsprint. News bites TCoveringo the Sanw Jacinto and Santan Rosa Moun tainsC from Twinr Pinesı to Anzaer to Pinyon Jazz in the Pines Almost all the News — Part of the Time August headliners and program announced. VOL. 67 NO. 14 75¢ (Tax Included) IDYLLWILD, CA THURS., APRIL 5, 2012 See page 14. Sheriff’s raid Drug-related arrests in Supervisors hear Idyllwild. See page 2. sheriff talk crime Stranded hiker rescued RMRU rescue at night in and budget very dangerous conditions. See page 2. By J.P. Crumrine Attorney Paul Zellerbach Editor and County Fire Chief John Air tanker plan Hawkins. U.S. senators question ayoffs will be needed Parish was blunt and Forest Service strategy. to balance the Riv- grim. “While it appears that erside County bud- the economy is improving, See page 9. L get for fi scal year 2012-13, the revenue needed to sus- which starts July 1. Interim tain a full fi scal recovery of Exchange students County Executive Larry Par- our county’s budget is not Four students from ish presented preliminary expected for several years,” Marumori, Japan, budget information to the he said in his letter to the visit Idyllwild. board in two days of hear- supervisors. See page 10. ings last week. County departments During the sessions, have already been ordered Speaker the board of supervisors to prepare for the next fi s- Peter Askim talks fusion in heard from public safety cal year and to plan for department heads, including cuts, especially in nonpublic new classical music.
    [Show full text]
  • Henryk Górecki's Spiritual Awakening and Its Socio
    DARKNESS AND LIGHT: HENRYK GÓRECKI’S SPIRITUAL AWAKENING AND ITS SOCIO-POLITICAL CONTEXT By CHRISTOPHER W. CARY A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC UNIVERSITY OF FLORIDA 2005 Copyright 2005 by Christopher W. Cary ACKNOWLEDGMENTS I would like to express my gratitude to Dr. Christopher Caes, who provided me with a greater understanding of Polish people and their experiences. He made the topic of Poland’s social, political, and cultural history come alive. I would like to acknowledge Dr. Paul Richards and Dr. Arthur Jennings for their scholarly ideas, critical assessments, and kindness. I would like to thank my family for their enduring support. Most importantly, this paper would not have been possible without Dr. David Kushner, my mentor, friend, and committee chair. I thank him for his confidence, guidance, insights, and patience. He was an inspiration for me every step of the way. Finally, I would like to thank Dilek, my light in all moments of darkness. iii TABLE OF CONTENTS page ACKNOWLEDGMENTS ................................................................................................. iii ABSTRACT....................................................................................................................... vi CHAPTER 1 INTRODUCTION ........................................................................................................1 Purpose of the Study.....................................................................................................1
    [Show full text]
  • 23 Novembre 2013 Casa Della Musica Casa De
    XXIII Rassegna Internazionale di Musica Moderna e Contemporanea Parma, 22 settembre - 23 novembre 2013 Casa della Musica Casa del Suono Teatro Regio XXIII Rassegna Internazionale di Musica Moderna e Contemporanea 1991 2013 VENTITRÉ ANNI DI MUSICA CONTEMPORANEA IN ITALIA Traiettorie ha ricevuto il XXX Premio della critica musicale "Franco Abbiati" come migliore iniziativa del 2010 per i meriti acquisiti durante i primi vent'anni della sua attività. In copertina: Mauro Staccioli, Disegno per Traiettorie, 2013 collage su carta, 70x100 cm Foto Bruno Bani, Milano Courtesy A arte Studio Invernizzi Quello che viene capito troppo rapidamente non ha lunga durata. Fëdor Dostoevskij Istituzioni Assessorato alla Cultura Main partner Partner Media partner Sponsor tecnici XXIII Rassegna Internazionale di Musica Moderna e Contemporanea Direttore artistico Martino Traversa Promotore Fondazione Prometeo Istituzioni Comune di Parma - Assessorato alla Cultura Istituzione Casa della Musica Regione Emilia-Romagna Provincia di Parma Ministero dei beni e delle attività culturali e del turismo - Direzione Generale per lo Spettacolo dal Vivo Teatro Regio di Parma Main partner Fondazione Monte di Parma Banca Monte Parma Partner Chiesi Farmaceutici Symbolic Media partner Rai Radio3 Sponsor tecnici Astoria Residence Hotel Ristorante "Il Trovatore" di Parma Tipocrom Calendario dei concerti 22/09 Ridotto del Teatro Regio Hae-Sun Kang e giovani talenti francesi Webern, Harvey, Schönberg 28/09 Casa della Musica Garth Knox e Rohan de Saram Bach, Kurtág, Romitelli, Dallapiccola
    [Show full text]
  • Minimalism and New Complexity in Solo Flute Repertoire by Twila Dawn Bakker Bachelor of Arts, Univer
    Two Responses to Modernism: Minimalism and New Complexity in Solo Flute Repertoire by Twila Dawn Bakker Bachelor of Arts, University of Alberta, 2008 A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS in the School of Music Twila Dawn Bakker, 2011 University of Victoria All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. ii Supervisory Committee Two Responses to Modernism: Minimalism and New Complexity in Solo Flute Repertoire by Twila Dawn Bakker Bachelor of Arts, University of Alberta, 2008 Supervisory Committee Dr. Jonathan Goldman, School of Music Supervisor Dr. Michelle Fillion, School of Music Departmental Member iii Abstract Supervisory Committee Dr. Jonathan Goldman, School of Music Supervisor Dr. Michelle Fillion, School of Music Departmental Member Wind repertoire, especially for flute, has received little focused attention in the musicological world especially when compared with other instruments. This gap in scholarship is further exacerbated when the scope of time is narrowed to the last quarter of the twentieth century. Although Minimalism and New Complexity are – at least superficially – highly divergent styles of composition, they both exhibit aspects of a response to modernism. An examination of emblematic examples from the repertoire for solo flute (or recorder), specifically focusing on: Louis Andriessen’s Ende (1981); James Dillon’s Sgothan (1984), Brian Ferneyhough’s Carceri d’Invenzione IIb (1984), Superscripto (1981), and Unity Capsule (1975); Philip Glass’s Arabesque in Memoriam (1988); Henryk Górecki’s Valentine Piece (1996); and Steve Reich’s Vermont Counterpoint (1982), allows for the similarities in both genre’s response to modernism to be highlighted.
    [Show full text]
  • JAMES D. BABCOCK, MBA, CFA, CPA 191 South Salem Road  Ridgefield, Connecticut 06877 (203) 994-7244  [email protected]
    JAMES D. BABCOCK, MBA, CFA, CPA 191 South Salem Road Ridgefield, Connecticut 06877 (203) 994-7244 [email protected] List of Addendums First Addendum – Middle Ages Second Addendum – Modern and Modern Sub-Categories A. 20th Century B. 21st Century C. Modern and High Modern D. Postmodern and Contemporary E. Descrtiption of Categories (alphabetic) and Important Composers Third Addendum – Composers Fourth Addendum – Musical Terms and Concepts 1 First Addendum – Middle Ages A. The Early Medieval Music (500-1150). i. Early chant traditions Chant (or plainsong) is a monophonic sacred form which represents the earliest known music of the Christian Church. The simplest, syllabic chants, in which each syllable is set to one note, were probably intended to be sung by the choir or congregation, while the more florid, melismatic examples (which have many notes to each syllable) were probably performed by soloists. Plainchant melodies (which are sometimes referred to as a “drown,” are characterized by the following: A monophonic texture; For ease of singing, relatively conjunct melodic contour (meaning no large intervals between one note and the next) and a restricted range (no notes too high or too low); and Rhythms based strictly on the articulation of the word being sung (meaning no steady dancelike beats). Chant developed separately in several European centers, the most important being Rome, Hispania, Gaul, Milan and Ireland. Chant was developed to support the regional liturgies used when celebrating Mass. Each area developed its own chant and rules for celebration. In Spain and Portugal, Mozarabic chant was used, showing the influence of North Afgican music. The Mozarabic liturgy survived through Muslim rule, though this was an isolated strand and was later suppressed in an attempt to enforce conformity on the entire liturgy.
    [Show full text]
  • Chapter 1: from Autonomy to Heteronomy: a Change of Paradigm in South African Art Music, 1980-2006
    Chapter 1: From autonomy to heteronomy: A change of paradigm in South African art music, 1980-2006 Introduction Composition in South Africa has been an increasingly contested artistic and ideological space since the early 1980s. In this dissertation I argue that the demise of apartheid and the rise of democracy resulted in an institutional and aesthetic crisis for the field of composition, embodied in musical terms by a shift away from a Eurocentric paradigm to a cross-cultural one that embraced various ‘African elements’ within a framework of modernism and discourse of accessibility. In this chapter I consider the factors – both internal to the field of art music and those resulting from larger societal changes – that contributed to this artistic and ideological shift. Partly I am concerned with the politics of the field itself: the struggle for power within a highly contested cultural space. More broadly I am interested in the position of the field relative to changes in society at the macro level, in terms of race, class, and economic imperatives. A central question is, to what extent did the restructuring of the field in response to these changed imperatives affect the aesthetic choices of composers? The autonomy of art music during apartheid was challenged by the politicization of the field during the 1980s. The extent and rapidity of social and institutional change, and the new self-consciousness that it evoked in composers previously only concerned with “production for producers” (Bourdieu 1993:15), resulted in a crisis that foreshadowed an aesthetic revolution, or change of paradigm. In this chapter I present the theoretical basis for this claim and explain some of the historical reasons for its emergence.
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles Millennial Passions: New
    UNIVERSITY OF CALIFORNIA Los Angeles Millennial Passions: New Music and the Ends of History, 1989-2001 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Musicology by Stephany Andrea Moore 2016 © Copyright by Stephany Andrea Moore 2016 ABSTRACT OF THE DISSERTATION Millennial Passions: New Music and the Ends of History, 1989-2001 by Stephany Andrea Moore Doctor of Philosophy in Musicology University of California, Los Angeles, 2016 Professor Robert W. Fink, Chair This dissertation examines a group of four musical Passion settings, commissioned by the International Bachakademie Stuttgart to mark the 250th anniversary of J.S. Bach’s death in 2000. The terms of the commission, titled “Passion 2000,” called for each composer to choose one of the canonic Gospels and write a setting in his or her own language. They were Wolfgang Rihm, German; Sofia Gubaidulina, Russian; Osvaldo Golijov, Spanish; and Tan Dun, English. I consider these four Passions against the backdrop of two historical turning points: the end of the Cold War and the turn of the millennium. I look at the impact of these turns on the production and reception of new music, considering tensions between the rapid globalization of the post-Cold War period and the simultaneous struggles to renegotiate the terms of local or regional identities. Accordingly, I address issues of nationalism and postnationalism, globalization, and multiculturalism, while also situating the Passions within music-historical lineages and networks of influence. While the end of the Cold War put ideas about the “end of history” into wide circulation, the approach of the millennium also carried eschatological ii implications, as well as hopes for global, historical redemption from the brutalities of the twentieth century.
    [Show full text]
  • Download File
    Post-Ironic Sounds: Wallacian New Sincerity in “Unavoidably Sentimental” for Large Ensemble Yair Klartag Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2019 © 2019 Yair Klartag All rights reserved ABSTRACT Post-Ironic Sounds: Wallacian New Sincerity in “Unavoidably Sentimental” for Large Ensemble Yair Klartag This essay presents a conceptual analysis of my piece Unavoidably Sentimental for Large Ensemble. Specifically, the paper traces the roots of the musical thinking in the piece to a notion of Sincerity that emerges from David Foster Wallace’s books and essays. The term New Sincerity, coined by Adam Kelly, is deployed to consider what a post-postmodern Sincerity could sound like in contemporary music. The paper provides general background to the literary discourse around the concept of New Sincerity as an extension of Lionel Trilling’s formalization of Sincerity and Authenticity. It suggests some examples of how a renewed sense of Sincerity could incarnate in contemporary music. As a background for the analysis of Unavoidably Sentimental itself, the paper provides background to my prior engagement with concepts like irony and authenticity in music. Unavoidably Sentimental is analyzed as a linear process, in which the piece tries to emerge out of a net of self-aware referential musical objects into the creation of sonic states of unmediated human communication between the musicians and the audience. I present different musical strategies in which the piece confronts the limitations of human communication through music, contextualized with reference to the portrayal of communication in Wallace’s writings.
    [Show full text]
  • La Obra Musical De David Del Puerto, Una Postura Estética De La Postvanguardia 1
    La obra musical de David del Puerto, una postura estética de la postvanguardia 1 David del Puerto’s musical work, an aesthetic attitude from post-avantgarde EDUARDO SOUTULLO GARCÍA Prólogo La bibliografía musical original no es algo que abunde entre nosotros. Me pare - ce ocioso preguntarse el por qué: quienes pertenecen al gremio lo saben y los que no, no se suelen interesar por el tema, al que consideran “elitista” (una manera cómoda de arrinconarlo). La aparición de este libro de Eduardo Soutullo sobre David del Puerto es, pues, una bienvenida, agradecida sorpresa. Y más cuando la presentación de la materia estrictamente musical se hace hablando en términos musicales, con rigor y claridad. Sí, ya sé: los músicos –como tantos otros especialistas– “tenemos una jerga que no hay quien entienda”. Bueno: una vez rendido el homenaje inevitable al lugar común, ya va siendo hora de perderle el miedo al supuesto “monstruo” que, con un poco de buena voluntad y algo de atención, no es tal. Por lo demás, el autor no abusa de él. El libro es imprescindible para el melómano por varias razones. La primera, obvia, por ocuparse seria y eficazmente de una figura clave en la música española de ahora mismo. La segunda porque, hablando de David del Puerto, se hace un retrato de la vida musical española de su tiempo: la enseñanza, los conciertos, la forma y las luchas por incorporarse a la cultura española y extranjera de un músico como David, portavoz –junto a un generoso número de colegas “grandes”– de una continuidad de la composición musical española inexistente desde hace siglos (y 1 Este artículo ha sido registrado en el Registro de la Propiedad Intelectual del Ministerio de Cultura.
    [Show full text]
  • Download File
    Noise, Sound and Objecthood: The Politics of Representation in the Musical Avant-Garde Alexander Hall Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2016 © 2016 Alexander Hall All Rights Reserved ABSTRACT Noise, Sound and Objecthood: The Politics of Representation in the Musical Avant-Garde Alexander Hall This essay offers both a historical analysis of twentieth century avant-garde practices relating to representation in music, and a prescriptive model for contemporary methods of composition. I address the taxonomy problem in classical music, clarifying the ontological divide identified by German musicologist Michael Rebhahn Contemporary Classical music and New Music. I demonstrate how neoliberalism has developed a Global Style (Foster 2012) of "Light Modernity,” evident in both contemporary architecture and music alike. The central problem facing composition today is the fetishization of materials, ultimately derived from music's refusal to allow the question of representation to be addressed. I argue that composers have largely sought to define noise as sound-in-itself, eliminating the possibilities of representation in the process. Proposing instead that composers should strive to tackle representation head-on in the 21st century, I show how Jacques Rancière provides a model in which noise and sound—representation and abstraction—function in a conjoined, yet non-homogenized aesthetic regime. Governed by what he calls the "pensiveness of the image,” it allows for a renewed art form that rejects repetition and neoliberalism, re-connecting to the spirit of the avant-garde without slavishly echoing either its outmoded aesthetics or dogmatic philosophies.
    [Show full text]