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Mia Göran Doktoravh

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Mia Göran Doktoravh Innhold Kapittel 1 Innledning.....................................................................................................................................1 Four6 / opus 74.....................................................................................................................................................................1 John Cage og sansningens poetikk................................................................................................................................2 Avhandlingens materiale og begreper .......................................................................................................................4 Kapittel 2 Modernismens rutenett ........................................................................................................ 13 Innledning ............................................................................................................................................................................ 13 Rutenettet og modernisme I......................................................................................................................................... 15 Cages nytelsesdomene..................................................................................................................................................... 18 Rutenettet og modernisme II ....................................................................................................................................... 22 Serialisme, rutenett og åndelighet ............................................................................................................................ 23 Structure Ia.......................................................................................................................................................................... 28 KomposisJonsprosessen som system i Music of Changes.................................................................................. 33 Boulez’ kritikk av tilfeldighet....................................................................................................................................... 41 Sentripetal – sentrifugal ................................................................................................................................................ 47 KonklusJon: Verket som system................................................................................................................................... 52 Carl Jung: I Ching og synkronisitetens prinsipp................................................................................................... 54 Kapittel 3 Cages estetiske eksperiment, 1 .......................................................................................... 61 Innledning ............................................................................................................................................................................ 61 Cages estetiske eksperiment......................................................................................................................................... 65 Kunsthandlingen i New York -skolen ....................................................................................................................... 71 Jackson Pollocks prosess ................................................................................................................................................ 77 Cage: ”Composition as Process” - Fra verk til prosess....................................................................................... 83 Avslutning...........................................................................................................................................................................100 Kapittel 4 Cages estetiske eksperiment, 2: Tre performative verkanalyser.................................................................................................103 Innledning ..........................................................................................................................................................................103 0’00”......................................................................................................................................................................................104 Disiplin og forpliktelse..................................................................................................................................................114 Å fremføre 0’00”...............................................................................................................................................................118 Variations IV .....................................................................................................................................................................123 Four6 ....................................................................................................................................................................................133 Four6 og fremføringspraksis .....................................................................................................................................136 Kunsthandlingens automatistiske prosess som gJennomstrømmingsstruktur....................................145 Kapittel 5 Tegnrensning, 1: Museumcircle og Europeras.........................................................................................................153 Innledning ..........................................................................................................................................................................153 Museumcircle....................................................................................................................................................................156 Tegnrensning av museumsgjenstanden................................................................................................................159 Michel Foucault: Tingenes orden og Museumcircle.........................................................................................162 Oppmerksomhetsform...................................................................................................................................................167 Cages tegnrensede rom ................................................................................................................................................173 Oppmerksomhet og gJennomstrømming..............................................................................................................176 Europeras – innledning ................................................................................................................................................180 Europeras: Material og komposisJonsteknikk....................................................................................................181 Narrativitet og oppmerksomhetsform ..................................................................................................................185 Europeras – en synkronistisk tolkning ..................................................................................................................187 Å være grammafonoperatør i Europeras 3&4 ...................................................................................................191 iii Kapittel 6 Tegnrensning, 2: Empty Words.....................................................................................................................................195 Innledning ..........................................................................................................................................................................195 Tegnrensning og komposisJonsteknikk .................................................................................................................200 Empty Words, del I - Strofe-tid..................................................................................................................................207 Roland Barthes: Genosang og fenosang................................................................................................................210 Materialitet/form ...........................................................................................................................................................215 Strofen – meningens temporalitet...........................................................................................................................218 Empty Words, del II - Tegnrensning .......................................................................................................................221 Empty Words, del III – Ikke strofe-tid ....................................................................................................................225 Empty Words, del IV - Stillhet....................................................................................................................................233 Kapittel 7 Konklusjon ..............................................................................................................................237 Kilder og litteraturliste ...........................................................................................................................241 iv Kapittel 1 INNLEDNING Four6 / opus 74 Four6 og Strykekvartett opus 74. To forskjellige handlingsrom for fire musikere, iscenesatte av to forskjellige komponister, John Cage og Ludwig van Beethoven. Det musikalske handlingsrom
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