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Malevich En Muziek ‘Is Het Mogelijk De Kunsttheorieën Van Kazimir Malevich Toe Te Passen Op Het Componeren Van Muziek?’

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Malevich En Muziek ‘Is Het Mogelijk De Kunsttheorieën Van Kazimir Malevich Toe Te Passen Op Het Componeren Van Muziek?’ Malevich en muziek ‘Is het mogelijk de kunsttheorieën van Kazimir Malevich toe te passen op het componeren van muziek?’ Naam leerling: Fabian Westzaan Naam begeleidster: Marijke Heijloo College Hageveld Inhoudsopgave Inleiding pagina 4 Hoofdstuk 1: Wie was Kazimir Malevich? pagina 5 -1.1 Algemeen pagina 5 -1.2 De jeugd van Malevich pagina 5 -1.3 Malevich eerste jaren als kunststudent pagina 6 -1.4 Malevich` kennismaking met het futurisme, pagina 6 primitivisme en kubisme -1.5 Viool met Koe, de Overwinning op de zon en Het pagina 7 Zwarte Vierkant -1.6 De laatste futuristische tentoonstelling (0.10) pagina 9 -1.7 Na de Februari Revolutie van 1917 pagina 9 -1.7.1 De vorming van de UNOVIS groep pagina 10 -1.7.2 Suprematistische architectuur en verdere pagina 11 toepassingen van het suprematisme -1.8 De aanval op avant-gardistische kunst en pagina 11 Malevich` vertrek naar Berlijn -1.9 De arrestatie en het arrest van Malevich pagina 13 -1.10 De Tweede Boerencyclus pagina 13 -1.11 De dood van Malevich pagina 14 Hoofdstuk 2: Wat hielden de theorieën van Malevich in? pagina 15 -2.1 Herkomst naam en de Non-Objectiviteit van het pagina 15 suprematisme -2.2 De ‘Vierde’ Dimensie en de rol van het gevoel in pagina 16 het suprematisme -2.3 Dynamiek in het suprematisme en ‘De pagina 18 economische noodzaak.’ -2.4 Contrasten en interactie in het suprematisme pagina 20 -Deelconclusie hoofdstuk 2 pagina 21 Hoofdstuk 3: Wie waren belangrijke tijdgenoten van pagina 22 Kazimir Malevich binnen zijn directe kring? -3.1 Ruitenboer en Ezelsstaart pagina 22 -3.1.1 Mikhail Larionov pagina 23 -3.1.1.1 Neo-primitivistische periode pagina 23 -3.1.1.2 Rayonistische periode pagina 24 -3.2 De Unie van de Jeugd pagina 25 -3.2.1 Mikhail Matyushin pagina 25 -3.3 Overwinning op de Zon pagina 26 -3.3.1 Aleksei Kruchenykh en Zaum pagina 27 -3.3.2 De muziek van Mikhail Matyushin pagina 27 -3.4 UNOVIS pagina 29 -3.4.1 El-lissitzky pagina 30 - 3.4.2 Verdere invloed van de UNOVIS groep pagina 30 -Deelconclusie hoofdstuk 3 pagina 31 2 Hoofdstuk 4: Zijn er raakvlakken tussen de theorieën van pagina 32 Malevich en muzikale stromingen en/of muzikale theorieën of met muziek van bepaalde componisten? -4.1 De non-objectiviteit in het suprematisme pagina 32 -4.1.1 Zyklus van Karlheinz Stockhausen pagina 34 -4.1.1.1 Verbinding met de filosofie pagina 35 -4.2.1 De ‘vierde’ dimensie in het suprematisme pagina 36 -4.2.1.1 Integrales pagina 37 -4.2.1.1.1 Verbinding met filosofie pagina 37 -4.2.2 De rol van het gevoel in het suprematisme pagina 37 -4.2.2.1 Lasciatemi morire pagina 38 -4.2.2.1.1 Verbinding met filosofie pagina 39 -4.3.1 Dynamiek in het suprematisme en ‘De pagina 39 economische noodzaak.’ -4.3.1.1 Tales (8 Whisps) pagina 41 -4.3.1.1.1 Verbinding met filosofie pagina 42 -4.3.2 Interactie tussen contrasten in het pagina 42 suprematisme -4.3.2.1 Biosphere pagina 44 -4.3.2.1.1 Verbinding met filosofie pagina 45 Conclusie pagina 46 Discussie en reflectie pagina 50 Samenvatting pagina 51 Summary in English pagina 53 Nawoord pagina 55 Bronnenlijst pagina 56 Logboek pagina 57 Bijlage 1: fragment uit het gedicht Zaum van Aleksei pagina 61 Kruchenykh Bijlage 2: fragmenten uit de bladmuziek van Zyklus van pagina 62 Karlheinz Stockhausen Bijlage 3: The Harmolodic Manifesto geschreven door pagina 69 Ornette Coleman Aparte Bijlages: Bijlage 4: bladmuziek Supremus #1 :suprematistische compositie Bijlage 5: Cd 1 met tracks waarnaar wordt verwezen in dit PWS Bijlage 6: Cd 2 met een opname van de suprematistische compositie 3 Inleiding Met dit profielwerkstuk ga ik onderzoeken of het mogelijk is om de kunsttheorie van de Russische schilder Kazimir Malevich, met de naam het suprematisme, toe te passen in de muziek. Dit doe ik door de volgende hoofdvraag te beantwoorden: ‘Is het mogelijk de kunsttheorieën van Kazimir Malevich toe te passen op het componeren van muziek?’. Deze hoofdvraag beantwoord ik op zijn beurt weer met behulp van de volgende deelvragen: • Wie was Kazimir Malevich? • Wat hielden de theorieën van Kazimir Malevich in? • Wie waren belangrijke tijdgenoten van Kazimir Malevich binnen zijn directe kring? • Zijn er raakvlakken tussen de theorieën van Malevich en muzikale stromingen en/of muzikale theorieën of met muziek van bepaalde componisten? Mijn hypothese is dat het mogelijk is om het suprematisme om te zetten naar muziek.Er zijn namelijk veel andere kunststromingen, zoals het expressionisme en het impressionisme, ook buiten de schilderkunst toegepast. Ik wil na het beantwoorden van mijn deelvragen en de hoofdvraag een of meerdere muziekstukken schrijven die gebaseerd zijn op de theorieën van Malevich. Dit ga ik op de volgende manier doen. Eerst ga ik onderzoeken wie Malevich was. Dit ga ik doen door een korte biografie van zijn leven te schrijven zodat ik een beeld kan krijgen van de totstandkoming van zijn theorieën en de persoon achter die theorieën. Daarna ga ik, mede met behulp van de theoretische geschriften die hij zelf heeft geschreven, onderzoeken wat het suprematisme precies inhoudt. Daarna ga ik kijken welke belangrijke kunstenaars, componisten, schrijvers etc. zich allemaal in de directe kring van Malevich bevonden. Vervolgens kijk ik of Malevich misschien door een van deze mensen geïnspireerd is of zelf anderen geïnspireerd heeft met het suprematisme. Hierna ga ik kijken of het suprematisme raakvlakken heeft met stromingen binnen de muziek en theorieën van componisten over muziek. Ook laat ik Patrick Schenkius, docent muziektheorie Conservatorium van Amsterdam, en Onno Bosch, coördinator Jazz en Pop op MZK Zuid-Kennemerland met dit profielwerkstuk meelezen zodat zij eventueel tips en kritische kanttekeningen kunnen geven bij dit profielwerkstuk. Ten slotte ga ik met behulp van de opgedane informatie en tips proberen een muziekstuk te schrijven dat gebaseerd is op de theorieën van Kazimir Malevich. Ik heb dit onderwerp gekozen omdat ik de kunst van Malevich heel mooi en interessant vind. De kunst van Malevich is namelijk heel abstract, maar er zit wel een hele uitgewerkte theorie achter. Muziek is heel ook abstract, maar daar zit ook een hele theorie achter. Daarom was ik benieuwd hoe het suprematisme zou klinken, terwijl ik weet hoe het eruitziet. Het nut van dit onderzoek is om te zien of het mogelijk is om de theorieën van Malevich om te zetten naar muziek. Hierdoor is het mogelijk om de theorieën van Malevich vanuit een andere invalshoek te bekijken en ook om te zien wat voor een invloed de kunst en de theorieën van Malevich hebben gehad buiten de schilderkunst en ook zouden kunnen hebben. 4 Hoofdstuk 1: Wie was Kazimir Malevich? 1.1 Algemeen Kazimir Severinovich Malevich (ook wel gespeld als Malevitsj) werd op 23 februari 1879 geboren in de buurt van Kiev, Oekraine. Hij was de zoon van Severin Antonovich en Lyudiviga Aleksandrovna Malevich. Kazimir Malevich was rooms-katholiek gedoopt. Allebei zijn ouders zijn afkomstig uit Polen. Kazimir was de oudste van veertien kinderen (waarvan negen hun jeugd levend doorkwamen). Vanwege het beroep van zijn vader moest de familie Malevich veel verhuizen. Zijn vader werkte als bedrijfsleider bij verschillende suikerfabrieken in de buurt van Kiev. Hij werkte omstreeks 1890 bij een fabriek in Parkhomovka, een stadje dat circa 260 km van Kiev ligt. In datzelfde stadje heeft Kazimir vijf jaar op de landbouwschool gezeten. 1.2 De jeugd van Malevich In 1894 werkte de vader van Malevich bij een fabriek in de buurt van Voltchok en Konotop, deze dorpen liggen ongeveer tussen Kiev en Kursk in. Kazimir wijdde zich in Konotop volledig aan het schilderen en voltooide hier zijn eerste schilderijen. Kazimir Portretfoto van Kazimir Severinovich hield altijd veel van de natuur en het boerenleven, hij leerde Malevich. zichzelf in het begin schilderen in de boerenstijl. Kazimir Malevich wist tot zijn 12de bijna niks van professionele kunstenaars af. Hij bracht zijn jeugd namelijk vooral door in dorpen die in de buurt lagen van suikerplantages, en ver van de culturele centra. Wel was hij als kind fan van de boerenkunst waarmee hij regelmatig in aanraking kwam. Veel van zijn vroegere schilderijen hadden dan ook vaak als thema ‘Het Boerenland’. Op zijn viertiende slaagde Kazimir erin om toegelaten te worden tot de kunstacademie van Kiev. In 1896 verhuisde het gezin Malevich naar Kursk, zijn vader ging hier werken bij de spoorwegmaatschappij. In deze tijd leerde Kazimir door reproducties schilders als Ivan Shishkin en Ilya Repin kennen (beide schilders behoorden tot de naturalistische schildergroep De Zwervers). Kazimir zag het in deze periode als zijn taak om de natuur zo natuurgetrouw mogelijk weer te geven. 'Bij Het Raam' van de Russische schilder Leonid Pasternak, die In Kurks vormde Malevich met andere schilders, die hij Malevich lange tijd lesgaf. vooral leerde kennen via de spoorwegenmaatschappij, een ateliergemeenschap waar hij amateurschilders en kunstliefhebbers leerde kennen. Later sloten twee professionele kunstenaars zich aan bij de kring. Via hen hoorde hij over de schilderscholen en kunstacademies in St. Petersburg en Moskou. Malevich werkte ook veel met een van hen, namelijk Lev Kvachevskii. Zijn werk werd in de loop der tijd steeds impressionistischer. 5 1.3 Malevich eerste jaren als kunststudent Kazimir kreeg in de loop van de tijd steeds meer de behoefte om een academische opleiding te volgen in Moskou. Om daar te kunnen wonen nam hij een baan als technisch tekenaar bij de spoorwegen. In 1904 stierf de vader van Kazimir Malevich. In datzelfde jaar verhuisde Kazimir naar Moskou om les te nemen op de Stroganov School kunstacademie te Moskou. Hier kreeg hij onder andere privéles van de prominente kunstleraar Ivan Rerberg.
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