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Elektroakustická Hudba Tiskový výstup ELEKTROAKUSTICKÁ HUDBA PhDr. Martin Flašar, Ph.D. MASARYKOVA UNIVERZITA ELPORTÁL Filozofická fakulta Masarykovy univerzity Ústav hudební vědy Recenzoval doc. Mgr. MgA. Michal Rataj, Ph.D. Vytvořeno ve spolupráci se Servisním střediskem pro e-learning na MU, http://is.muni.cz/stech/. Tiskový výstup publikace vydané na Elportále MU (http://elportal.cz/) http://is.muni.cz/elportal/?id=1308636 © 2015 Masarykova univerzita 2 Obsah Obsah ........................................................................................................................................3 1. Elektroakustická hudba (EAH) – definice, typologie........................................................7 Definice......................................................................................................................................7 Výzkumné strategie EAH............................................................................................................7 Z hlediska historiografie .............................................................................................................8 Problémy zkoumání EAH z hlediska muzikologie: .......................................................................8 Příbuzné žánry ...........................................................................................................................8 Paradigmatické zlomy v historii EAH ..........................................................................................8 Selektivní přehled institucí pro EAH ............................................................................................8 Typologické členění EAH ...........................................................................................................9 Proces produkce EAH .............................................................................................................. 11 Základní typy syntézy ............................................................................................................... 12 2. Generace průkopníků – F. Busoni a italští futuristé ......................................................13 Feruccio Busoni: esej Entwurf einer neuen Ästhetik der Tonkunst (1907) – klíčové teze ........... 13 Italský futurismus ..................................................................................................................... 15 Základní rysy futurismu ............................................................................................................ 16 Filippo Tommaso Marinetti: Manifest futurismu (1909) .............................................................. 16 Francesco Balilla Pratella: Manifest futuristických hudebníků (11. října 1910) ........................... 18 Luigi Russolo: Umění hluku (1913) – klíčové teze ..................................................................... 20 Závěry manifestu .................................................................................................................... 23 3. Konkrétní hudba (musique concrète) ............................................................................26 Charakteristické techniky, estetické vlivy .................................................................................. 26 Pierre Schaeffer ....................................................................................................................... 27 Pierre Henry ............................................................................................................................. 30 Historie GRM ........................................................................................................................... 31 Teorie ...................................................................................................................................... 34 4. Francouzská EAH – E. Varèse, I. Xenakis, P. Boulez ..................................................37 Edgard Varèse ......................................................................................................................... 37 Iannis Xenakis.......................................................................................................................... 40 Pierre Boulez ........................................................................................................................... 49 5. Německá EAH – Karlheinz Stockhausen ......................................................................54 Darmstadt ................................................................................................................................ 54 Studio pro elektronickou hudbu v Kolíně n. R. .......................................................................... 55 Obálka zvuku (envelope) .......................................................................................................... 57 3 Hudba v prostoru ..................................................................................................................... 58 Vliv Stockhausena na další generace ....................................................................................... 62 6. EAH v Československu ................................................................................................63 Tváří v tvář socialistickému realismu (1948) ............................................................................. 63 Blízká setkání (1950–60) .......................................................................................................... 63 Od svěcení jara k jarní únavě (60. léta) .................................................................................... 64 U konce s dechem (70. léta) ..................................................................................................... 71 Objem produkce EAH v České republice 1960-1992 ................................................................ 71 Budoucnost historie (1989–) ..................................................................................................... 72 7. EAH v USA ..................................................................................................................75 John Cage (1912–1992) ........................................................................................................... 76 Columbia-Princeton Electronic Music Center ............................................................................ 77 Electronic Music Center (1959) ................................................................................................ 78 Music for Tape – Steve Reich (1936) ........................................................................................ 79 Počátky počítačové hudby ........................................................................................................ 80 Bell Telephone Laboratories ..................................................................................................... 81 8. Počítačová hudba, chiptunes, generativní hudba .........................................................84 Šestnáctibitové počítače .......................................................................................................... 86 Současný stav herní hudby ...................................................................................................... 86 Generativní hudba.................................................................................................................... 87 Live Coding – živé programování ............................................................................................. 88 9. Nonartificiální EAH .......................................................................................................89 Postmoderna a problém kategorizace ...................................................................................... 89 Nové hudební nástroje ............................................................................................................. 89 Emerson, Lake & Palmer.......................................................................................................... 91 Jean Michel André Jarre .......................................................................................................... 92 Evangelos Odyssey Papathanassiou (Vangelis) ....................................................................... 95 Kraftwerk ................................................................................................................................. 96 Björk Guðmundsdóttir............................................................................................................... 98 Česká scéna? ........................................................................................................................ 100 10. Improvizace, hardware hacking .................................................................................. 101 Improvizace versus kompozice ............................................................................................... 101 Komponovaná improvizace / Improvizovaná kompozice = „komprovizace“.............................. 102 Nicolas Collins: Hardware hacking ......................................................................................... 103 11. Interaktivní digitální nástroje pro live performance ...................................................... 105 4 Hudba jako hra....................................................................................................................... 105 Multimediální nástroje jako herní rozhraní .............................................................................
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