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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 17-oji tarptautinė 17th International muzikos teorijos konferencija Music Theory Conference Vilnius, 2017 lapkričio 8–10 Vilnius, 8–10 November 2017 MUZIKOS PRINCIPLES KOMPONAVIMO OF MUSIC PRINCIPAI: COMPOSING: ratio versus intuitio ratio versus intuitio XVII Vilnius Lietuvos muzikos ir teatro akademija 2017 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, 2017 © Rimantas Janeliauskas, sudarymas / Compilation, 2017 Turinys / Contents Pratarmė . 4 Foreword . 5 1 RACIONALUSIS IR INTUITYVUSIS KOMPONAVIMO PROCESAS (teorinės įžvalgos) RATIONAL AND INTUITIVE COMPOSITIONAL PROCESS (theoretical insights) Markos Lekkas. The Rational Deception of Intuition . 9 Miglė Miliūnaitė. Aesthesis versus Logos: Two Doctrines of Music and Possibility of Reconciliation . 16 Aleksandar Kontić, Miloš Zatkalik. Regression in Music or How to Communicate the Ineffable . 23 Rimantas Janeliauskas. Quaternion of the Oppositional Rhythmic Archetypes, Based on the Examples of Lithuanian Folk and Contemporary Music . 31 Bert Van Herck. Pitch and Harmony: A (Rational) Method Based on (Intuitive) Aural Experience . 45 Manos Panayiotakis. From Massive Clouds to C major: Aspects of Tension and Release in Krzysztof Penderecki’s Polymorphia . 53 2 MUZIKOS kūRINYS KAIP RACIONALIOS IR INTUITYVIOS kūRYbinės VEIKLOS REZULTATAS MUSICAL WORK AS AN OUTCOME OF RATIONAL AND INTUITIVE CREATIVE ACTIVITY Mark Konewko. Intuition and Rationality in Olivier Messiaen’s La Nativité du Seigneur . 61 Arthur Kaptainis. Intuiting the Rational: Marc-André Hamelin’s Toccata on “L’homme armé” . 68 Mark Vuorinen. At the Intersection of ratio and intuitio: Arvo Pärt’s Como cierva sedienta . 76 Chris Williams. Embodied Music Theory and Improvised Composition: Bill Evans, the Architect . 86 Stephen Guokas. Nationalist Tendencies in the De Profundis Cantata of M. K. Čiurlionis . 99 Manuel Dominquez Salas. Poetics for the Multi-opera Murmullos del páramo by Julio Estrada . 105 3 RACIONALUMO IR INTUITYVUMO FENOMENAI šiuolaikinėJE KOMPONAVIMO PRAKTIKOJE PHENOMENA OF RATIONALITY AND INTUITION IN CONTEMPORARY COMPOSING PRACTICE Roger Redgate. Emergent Material: Reinventing the Compositional Process . 117 Yusuke Nakahara. From Order to Chaos? Compositional Process and Concept of Béla Bartók’s Mikrokosmos . 127 James Dalton. The Freedom of Control and the Control of Freedom: Free Style vs Strict Style Just Intonation in the Works of Lou Harrison . 137 Francesco Finocchiaro. “Im Anfang war der Rhythmus”. Aesthetic Abstractions in the Film Music Composition of the 1920s . 145 PrIEDAS / SUPPLEMENT Katarzyna Bartos. “Consciousness is power” – Karlheinz Stockhausen’s Aus den sieben Tagen . 157 Małgorzata Kaniowska. Neoclassicism vs Sonorism – Selected Performance Issues in Edward Bogusławski’s Selected Works for Chamber Orchestra . 163 Kalliopi Stigka. Georgios Bikos’ music world: when intuition meets rationality . 169 Apie autorius / About the authors . 181 Šis leidinys – tai mokslinių straipsnių rinktinė, sudaryta remiantis pranešimais, pristatytais 17-ojoje tarp- tautinėje muzikos teorijos konferencijoje „Muzikos komponavimo principai: ratio versus intuitio“. Pratarmė Šis leidinys – tai mokslinių straipsnių rinktinė, sudaryta remiantis pranešimais, pristatytais 17-ojoje tarptau- tinėje muzikos teorijos konferencijoje „Muzikos komponavimo principai: ratio versus intuitio“. Konferencija vyko 2017 m. lapkričio 8–10 d. Vilniuje. Ją surengė Lietuvos muzikos ir teatro akademija ir Lietuvos kompozitorių sąjunga. Konferencijoje savo idėjas pristatė dvi dešimtys muzikologų ir kompozitorių iš Lenkijos, Graikijos, Austrijos, Vengrijos, Serbijos, Lietuvos, Jungtinės Karalystės, Australijos, Kanados, JAV. Moksliniai straipsniai sugrupuoti į tris potemes. I potemė – „Racionalusis ir intuityvusis komponavimo procesas (teorinės įžvalgos)“. Straipsnių spektras daugialypis. Problemą bandoma nušviesti kultūriškai, istoriškai, psichoanalizės, archetipų, muzikinio patyrimo, suvokimo ir praktinės analizės aspektais. Markos Lekko manymu, kultūriškai įsitvirtinusioje ratio vs intuitio dilemoje tiek klausimas, tiek atsakymas yra sugalvoti. Todėl intuicija jau vien dėl kompozitoriaus kūrybinės veiklos racionalumo tėra apgaulė. Kitaip problema išskleidžiama Miglės Miliūnaitės straipsnyje. Čia mėginama perskaityti ratio vs intuitio reikšmes nuo antikos laikų žinomoje kontroversijoje – muzika kaip logos (Pitagoras) ir kaip aesthesis (Aristoksenas) – bei apmąstyti šių komponentų vienovę (Platonas). Aleksandras Kontićius ir Milošas Zatkalikas, remdamiesi psichoanalize, gilinasi į kūrybinio akto prigimtį. Straipsnio bendraautoriai mano, kad kūrybiniam ego būdingas ir atvirumas pasąmonės impulsams (kūrybinė regresija), ir gebėjimas at- rasti sunkiai apčiuopiamos (ineffable) idėjos komunikaciją, atliepiančią bendrąsias kultūros normas ir prasmes. Ritminio kūrybiškumo versmę kitaip nusako Rimantas Janeliauskas – jis manifestuoja nuo amžių kultūriškai įsišaknijusią ritmo archetipų kvaterniją. Racionalumo ir intuityvumo įžvalgas garso aukščio ir harmonijos srityje išdėsto Bertas Van Herckas. Fokusuodamasis į akustinį tonų nelygiavertiškumą, autorius plėtoja mintį apie galimybę intuityviai atrasti harmonijos konsonavimo ir disonavimo fenomenus šiuolaikinėje muzikoje. Šią idėją logiškai papildo Manos Panayiotakio mintis apie naują skambesio įtampos ir iškrovos metodiką intuityviai organizuojant skambesio debesis ir faktūrą. II potemė – „Muzikos kūrinys kaip racionalios ir intuityvios kūrybinės veiklos rezultatas“. Čia autoriai dažnai pažymi ratio ir intuitio komponentų santykio lygiavertiškumą ir balansą, taip pat jo reiškėjus bei pa- rametrus. Markas Konewko, apmąstydamas O. Messiaeno kūrinį La nativité du Seigneur, įžvelgia racionalios ir intuityvios minties vienovę, atsirandančią muzikos išgyvenimo procese. Arthuras Kaptainis, išanalizavęs M.-A. Hamelino Tokatą fortepijonui prancūzų pasaulietinės dainos „L’homme armé“ tema, manifestuoja atvejį, kai racionalumas ir intuityvumas kūrinyje yra susipynę į abipusį santykį. Panašią racionaliai organizuoto mu- zikos teksto sankirtą su intuityviai atskleidžiamu muzikos tekstu nustato Markas Vuorinenas, analizuodamas A. Pärto kūrinį sopranui ir orkestrui Como cierva sedienta. Chrisas Williamsas, nagrinėdamas Billo Evanso solo improvizaciją Peace Piece, pozicionuoja intuityvią racionalaus proceso aprobaciją ir išryškina aktualias dichoto- mijas, kaip antai: improvizacija ir įkūnijimas, teorija ir kompozicija. Tam tikrą staigmeną pateikia Stephenas Guokas. Tyrinėdamas ankstyvąjį lietuvių genijaus M. K. Čiurlionio kūrinį – kantatą „De Profundis“, autorius atranda kompozitoriaus stiliui būdingą racionalumą taikant dar studijų metais įgytą komponavimo techniką ir spontaniškumą meistriškai įprasminant lietuvių etnomuzikos patirtis. O Manuelis Dominquezas Salasas, gilindamasis į meksikiečių kompozitoriaus Julio Estrados multi-operos „Murmullos del páramo“ poetiką, iškelia intuityviai atrastas komponavimo technikas (makrotembrą, sonorinio kontinuumo artikuliaciją, rašytinių tekstų transformaciją į skambesio struktūras ir kt.), taip pat šių technikų racionalų traktavimą operos procesuose. III potemė – „Racionalumo ir intuityvumo fenomenai šiuolaikinėje komponavimo praktikoje“. Šios potemės, panašiai kaip ir ankstesnės, straipsnių autoriai konkretizuoja ratio ir intuitio fenomenus neapsiribodami vienu kūriniu. Apmąstydamas savo pastarojo meto kompozicinę praktiką kompozitorius Rogeris Redgate’as pabrėžia nuolat besikeičiantį racionaliai planuojamų ir intuityvių spontaninių kompozicinių procesų santykį formuojant medžiagą; be to, pasiektas rezultatas apžvelgiamas iš informatyvesnės intuicijos interpretacijos ir minties pozicijų. Įdomi Yusuke Nakaharos mintis: tyrinėdamas B. Bartóko
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