DOCSLIB.ORG

©2018 Chung Eun Kim ALL RIGHTS RESERVED

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
©2018 Chung Eun Kim ALL RIGHTS RESERVED ©2018 Chung Eun Kim ALL RIGHTS RESERVED SILENCE IN THE MUSIC OF JOHN CAGE, TORU TAKEMITSU AND SALVATORE SCIARRINO by CHUNG EUN KIM A dissertation submitted to the School of Graduate Studies Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Music Written under the direction of Christopher Doll And approved by _____________________________________ _____________________________________ _____________________________________ _____________________________________ New Brunswick, New Jersey January, 2018 ABSTRACT OF THE DISSERTATION SILENCE IN THE MUSIC OF JOHN CAGE, TORU TAKEMITSU AND SALVATORE SCIARRINO By Chung Eun Kim Dissertation Director: Christopher Doll In Western common practice music, the concept of silence is considered a background against which sound is perceived. For some twentieth-century composers, however, silence becomes an important element in their music, as a new and inventive way of conceiving of sound. The purpose of this study is to investigate what makes twentieth-century composers, in particular John Cage, Toru Takemitsu, and Salvatore Sciarrino, interested in silence, and what influences this has on their musical philosophies. I also discuss what kinds of musical devices and effects they use to emphasize silence in their music and how silence may be conveyed through sound. I begin in Chapter 1 with a review of research that discusses musical silence generally, as well its employment by specific composers. I provide a historical review of the concept of silence and important figures whose music was influenced by silence. Following this, I delineate the terminology of ‘silence’ in this dissertation. I then discuss Cage’s use of silence. Cage’s concept of silence developed through his interest in non-conventional sound, the events he experienced, philosophies and books he studied, including Zen, and people he met beginning in the late 1930s. These helped Cage acknowledge that there is no absolute silence in the world; for him, sound and silence are on a single continuum. ii In Chpater 2, I introduce Takemitsu’s musical background, which comprises both Western experimental music and the influence of the Japanese spatial concept ma, I then explore types of silence Takemitsu employs, including long pauses, decay, and single-note utterances. Follow this, I use these concepts to analyze the structure of silence in Garden Rain. Takemitsu treats and designs silence as sound in Garden Rain and the aesthetics and function of ma are applied to his use of silence. Chapter 3 explores Sciarrino’s use of extremely soft sound which lies at the border between silence and sound, against Darmstadt composers’ aesthetics. It is conveyed by musical silence through extended techniques rather than conventional techniques, extreme dynamics, and extreme range. Through an analysis of Infinito Nero, based on the mystical utterance of Saint Maria Maddalena de’Pazzi, we see how Sciarrino describes the silence of Maria and the surrounding ambient sound by using non-conventional techniques. Finally, I compare the use of silence by Cage, Takemitsu, and Sciarrino. iii TABLE OF CONTENTS ABSTRACT ........................................................................................................................................... ii TABLE OF CONTENTS ...................................................................................................................... iv LIST OF FIGURES .............................................................................................................................. vi LIST OF EXAMPLES ......................................................................................................................... vii INTRODUCTION ................................................................................................................................. 1 Research in Silence ........................................................................................................................... 3 Histrorical Review in Silence ............................................................................................................ 7 CHAPTER 1– JOHN CAGE’S SILENCE ............................................................................................. 14 1.1 Interest in Unconventional Sound with Rhythm and Noise .......................................................... 15 1.2 Zen and Other Influenced Philosophies ....................................................................................... 18 1.3 White Painting and Anechoic Chamber Experience, and 4’33’’ .................................................. 20 1.4 Conclusion ................................................................................................................................. 24 CHAPTER 2 – TORU TAKEMITSU’S SILENCE .............................................................................. 26 2.1 Takemitsu’s Silence from Japanese Thoughts ............................................................................. 27 Japanese Thoughts on Music and Ma ........................................................................................... 27 Ma in Takemitu’s Musice ........................................................................................................... 30 2.2 Types of Silence in Takemitsu’s Music ....................................................................................... 32 Long Pause ................................................................................................................................. 32 Pause with Decay ....................................................................................................................... 34 The Emphasis of Isolated Utterances .......................................................................................... 38 iv 2.3 Analysis of Silence in Garden Rain ............................................................................................ 43 2.4 Conclusion ................................................................................................................................. 50 CHAPTER 3 – SALVATORE SCIARRINO’S SILENCE .................................................................... 51 3.1 Influence .................................................................................................................................... 52 Rejection of Darmstadt Aesthetics ................................................................................................ 52 Spatialization .............................................................................................................................. 55 3.2 Musical Elements Describing Silence ....................................................................................... 57 Extended Techniques .................................................................................................................. 58 Dynamics ................................................................................................................................... 61 Extreme Registers ...................................................................................................................... 64 3.3 Analysis of Infinito Nero .......................................................................................................... 65 3.4 Conclusion .................................................................................................................................. 74 CONCLUSION .................................................................................................................................... 75 BIBLIOGRAPHY ................................................................................................................................. 78 v LIST OF FIGURES Figure 1. Selection of Beethoven movements with prominent early rests ............................................... 10 Figure 2. Form and silence in Garden Rain ........................................................................................... 44 Figure 3.Three gestures of musical phrases in section A in Garden Rain ............................................... 49 vi LIST OF EXAMPLES Example 1. Haydn, String Quartet in E-flat op. 33, no.2, IV, mm.146-172 .............................................. 9 Example 2. Beethoven, Piano Sonata op.10 no.3, IV, mm.1-3 .............................................................. 10 Example 3. Liszt, Mephisto Waltz no. 1, mm.184-207 ........................................................................... 11 Example 4. Takemitsu, Long pause in Piano Distance, mm.41-54 ........................................................ 34 Example 5. Takemitsu, Uninterrupted Rest, II, second and third system ............................................... 36 Example 6. Takemitsu, Piano Distance, mm.1-4 .................................................................................. 41 Example 7. Takemitsu, Ending of Rain Spell ........................................................................................ 42 Example 8. Takemitsu, Beginning of Garden Rain ............................................................................... 45 Example 9. Takemitsu, Pauses in Garden Rain, pp.13-4 ....................................................................... 46 Example 10. Takemitsu, Trumpet passage in p.11 which links A and section B, C in Garden Rain, pp.10-11 ....................................................................................................................................
Load more

Recommended publications
  • O Desconcerto Anarquista De John Cage
    Pontifícia Universidade Católica de São Paulo Programa de Estudos Pós-Graduados em Ciências Sociais Gustavo Ferreira Simões o desconcerto anarquista de john cage Doutorado em Ciências Sociais São Paulo 2017 ! Pontifícia Universidade Católica de São Paulo Programa de Estudos Pós-Graduados em Ciências Sociais Gustavo Ferreira Simões o desconcerto anarquista de john cage Tese apresentada à Banca Examinadora da Pontifícia Universidade Católica de São Paulo, como exigência parcial para obtenção do título de Doutor em Ciências Sociais sob orientação do Prof. Dr. Edson Passetti. São Paulo 2017 ! ______________________ ______________________ ______________________ ______________________ ______________________ ! RESUMO Em 1988, John Cage inventou Anarchy , livro em que, a partir de escritos experimentais, valorizou as vidas de mulheres e homens anarquistas que marcaram seu percurso ético-estético libertário desde meados dos anos 1940 até a década de 1990, quando em seus últimos trabalhos, “number pieces” (1987-1992), apresentou o que denominou “harmonia anárquica”. Foi a partir da coexistência com artistas e militantes na Black Mountain College, no final da década de 1940, assim como em Nova York com o The Living Theatre (TLT) , que o artista já conhecido por seu corajoso “piano preparado” passou a elaborar o anarquismo como prática de vida. “4’33” (1952), ação direta contra a representação musical dos sons e em favor da incorporação dos ruídos excluídos pelas salas de concerto, irrompeu empolgada por essa aproximação libertária. Nas décadas seguintes, vivendo ao lado de artistas e anarquistas, afastado da cidade, em Stonypoint, iniciou a publicação de how to improve the world (you only make matters worse) (1965-1982), diário mantido por mais de quinze anos e no qual apresentou a lida com os escritos de Henry David Thoreau, preocupações antimilitares e ecológicas.
    [Show full text]
  • Comp. 09 Program Layout.Cwk
    T h i r t y - S e c o n d S e a s o n 2 0 0 9 - 2 0 1 0 Celebrating Lukas Tuesday, March 2, 2010, 7:30 p.m. Free admission Alea III celebrates the life and work of Lukas Foss, a great master, with an evening devoted exclusively to his music. ALEA III Echoi For Toru Elegy for Anne Frank For Aaron Plus Theodore Antoniou, Eighteen Epigrams Music Director a new work written by Lukas Foss’s students: Apostolos Paraskevas, Panos Liaropoulos, Michalis Economou, Jakov Jakoulov, Contemporary Music Ensemble Mark Berger, Frank Wallace, Ronald G. Vigue, Julian Wachner, Jeremy Van Buskirk, in residence at Mauricio Pauly, Matt Van Brink, Ivana Lisak, Ramon Castillo, Pedro Malpica, Boston University Paul Vash, Po-Chun Wang, Margaret McAllister, Sunggone Hwang. Theodore Antoniou, conductor Saxes and Horns Wednesday, April 28, 2010, 7:30 p.m. Free admission 27th International Composition Works of unusual instrumentation, featuring 18 saxophones Competition and 9 French horns. Pierre Boulez Dialogue de l’ombre double Theodore Antoniou Music for Nine Gunther Schuller Perpetuum Mobile Sofia Gubaidulina Duo TSAI Performance Center Georgia Spiropoulos Rotations October 4, 2009, 7:00 pm Eric Hewitt la grenouille Eric Ruske, horn, Tsuyoshi Honjo, Eric Hewitt and Jared Sims, saxophones Special guest: Radnofsky Saxophone Ensemble Eric Hewitt, conductor Sponsored by Boston University and the George Demeter Realty. BOARD OF DIRECTORS BOARD OF ADVISORS OUR NEXT ALEA EVENTS President George Demeter Mario Davidovsky Hans Werner Henze Generations Chairman Milko Kelemen André de Quadros Oliver Knussen Monday, November 16, 2009, 7:30 p.m.
    [Show full text]
  • Season 5 Article
    N.B. IT IS RECOMMENDED THAT THE READER USE 2-PAGE VIEW (BOOK FORMAT WITH SCROLLING ENABLED) IN ACROBAT READER OR BROWSER. “EVEN’ING IT OUT – A NEW PERSPECTIVE ON THE LAST TWO YEARS OF “THE TWILIGHT ZONE” Television Series (minus ‘THE’)” A Study in Three Parts by Andrew Ramage © 2019, The Twilight Zone Museum. All rights reserved. Preface With some hesitation at CBS, Cayuga Productions continued Twilight Zone for what would be its last season, with a thirty-six episode pipeline – a larger count than had been seen since its first year. Producer Bert Granet, who began producing in the previous season, was soon replaced by William Froug as he moved on to other projects. The fifth season has always been considered the weakest and, as one reviewer stated, “undisputably the worst.” Harsh criticism. The lopsidedness of Seasons 4 and 5 – with a smattering of episodes that egregiously deviated from the TZ mold, made for a series much-changed from the one everyone had come to know. A possible reason for this was an abundance of rather disdainful or at least less-likeable characters. Most were simply too hard to warm up to, or at the very least, identify with. But it wasn’t just TZ that was changing. Television was no longer as new a medium. “It was a period of great ferment,” said George Clayton Johnson. By 1963, the idyllic world of the 1950s was disappearing by the day. More grittily realistic and reality-based TV shows were imminent, as per the viewing audience’s demand and it was only a matter of time before the curtain came down on the kinds of shows everyone grew to love in the 50s.
    [Show full text]
  • Scambi Fushi Tarazu: a Musical Representation of a Drosophila Gene Expression Pattern
    Preprints (www.preprints.org) | NOT PEER-REVIEWED | Posted: 4 January 2020 doi:10.20944/preprints202001.0026.v1 Scambi fushi tarazu: A Musical Representation of a Drosophila Gene Expression Pattern Derek Gatherer Division of Biomedical & Life Sciences Lancaster University Lancaster LA1 4YW, UK [email protected] Abstract: The term Bio-Art has entered common usage to describe the interaction between the arts and the biological sciences. Although Bio-Art implies that Bio-Music would be one of its obvious sub- disciplines, the latter term has been much less frequently used. Nevertheless, there has been no shortage of projects that have brought together music and the biological sciences. Most of these projects have allowed the biological data to dictate to a large extent the sound produced, for instance the translation of genome or protein sequences into musical phrases, and therefore may be regarded as process compositions. Here I describe a Bio-Music process composition that derives its biological input from a visual representation of the expression pattern of the gene fushi tarazu in the Drosophila embryo. An equivalent pattern is constructed from the Scambi portfolio of short electronic music fragments created by Henri Pousseur in the 1950s. This general form of the resulting electronic composition follows that of the fushi tarazu pattern, while satisfying the rules of the Scambi compositional framework devised by Pousseur. The range and flexibility of Scambi make it ideally suited to other Bio-Music projects wherever there is a requirement, or desire, to build larger sonic structures from small units. Keywords: Scambi; fushi tarazu; Drosophila; BioArt; BioMusic; Music; process composition 1 © 2020 by the author(s).
    [Show full text]
  • A History of Rhythm, Metronomes, and the Mechanization of Musicality
    THE METRONOMIC PERFORMANCE PRACTICE: A HISTORY OF RHYTHM, METRONOMES, AND THE MECHANIZATION OF MUSICALITY by ALEXANDER EVAN BONUS A DISSERTATION Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Department of Music CASE WESTERN RESERVE UNIVERSITY May, 2010 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of _____________________________________________________Alexander Evan Bonus candidate for the ______________________Doctor of Philosophy degree *. Dr. Mary Davis (signed)_______________________________________________ (chair of the committee) Dr. Daniel Goldmark ________________________________________________ Dr. Peter Bennett ________________________________________________ Dr. Martha Woodmansee ________________________________________________ ________________________________________________ ________________________________________________ (date) _______________________2/25/2010 *We also certify that written approval has been obtained for any proprietary material contained therein. Copyright © 2010 by Alexander Evan Bonus All rights reserved CONTENTS LIST OF FIGURES . ii LIST OF TABLES . v Preface . vi ABSTRACT . xviii Chapter I. THE HUMANITY OF MUSICAL TIME, THE INSUFFICIENCIES OF RHYTHMICAL NOTATION, AND THE FAILURE OF CLOCKWORK METRONOMES, CIRCA 1600-1900 . 1 II. MAELZEL’S MACHINES: A RECEPTION HISTORY OF MAELZEL, HIS MECHANICAL CULTURE, AND THE METRONOME . .112 III. THE SCIENTIFIC METRONOME . 180 IV. METRONOMIC RHYTHM, THE CHRONOGRAPHIC
    [Show full text]
  • WHAT USE IS MUSIC in an OCEAN of SOUND? Towards an Object-Orientated Arts Practice
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Oxford Brookes University: RADAR WHAT USE IS MUSIC IN AN OCEAN OF SOUND? Towards an object-orientated arts practice AUSTIN SHERLAW-JOHNSON OXFORD BROOKES UNIVERSITY Submitted for PhD DECEMBER 2016 Contents Declaration 5 Abstract 7 Preface 9 1 Running South in as Straight a Line as Possible 12 2.1 Running is Better than Walking 18 2.2 What You See Is What You Get 22 3 Filling (and Emptying) Musical Spaces 28 4.1 On the Superficial Reading of Art Objects 36 4.2 Exhibiting Boxes 40 5 Making Sounds Happen is More Important than Careful Listening 48 6.1 Little or No Input 59 6.2 What Use is Art if it is No Different from Life? 63 7 A Short Ride in a Fast Machine 72 Conclusion 79 Chronological List of Selected Works 82 Bibliography 84 Picture Credits 91 Declaration I declare that the work contained in this thesis has not been submitted for any other award and that it is all my own work. Name: Austin Sherlaw-Johnson Signature: Date: 23/01/18 Abstract What Use is Music in an Ocean of Sound? is a reflective statement upon a body of artistic work created over approximately five years. This work, which I will refer to as "object- orientated", was specifically carried out to find out how I might fill artistic spaces with art objects that do not rely upon expanded notions of art or music nor upon explanations as to their meaning undertaken after the fact of the moment of encounter with them.
    [Show full text]
  • Onwisconsin Summer 2014
    For University of Wisconsin-Madison Alumni and Friends Drawn In Professor Jordan Ellenberg loves math — and says that you should, too. 24 Summer 2014 The Harmony of Numbers 28 | Doctors for the Forgotten 32 | Bye Bye Birdies 36 | When DNA is TMI 46 YOUR YOUR PRESENT. LEGACY. OUR FUTURE. GIFTS CAN MULTI-TASK. By establishing a charitable gift THEIR annuity at the University of Wisconsin Foundation, you • invest in the future of the UW-Madison • receive income for life FUTURE. • generate tax benefits We can shape how we’re remembered. Remembering the University of Wisconsin-Madison in your will is an investment in the future. For our children. For our university. For the world. To discuss your legacy, contact Scott McKinney in the Offi ce of Gift Planning at the University of Wisconsin Foundation at [email protected] or 608-262-6241. supportuw.org/gift-planning UNIVERSITY OF WISCONSIN FOUNDATION For more information, contact Scott McKinney in the Office of Gift Planning at [email protected] or 608-262-6241. On Wisconsin Full Pg October 2012.indd 1 10/10/2012 11:00:28 AM NOW OPEN to all University of Wisconsin-Madison alumni Overnight accommodations at the Fluno Center offer a welcome retreat after a long day of meetings, a convenient place to stay after a Badger game, or STAY IN THE simply a luxurious night in the heart of campus. Enjoy spectacular views of Madison while you HEART OF CAMPUS relax in style. The Fluno Center: Steps Away. A Notch Above. Visit fluno.com for more information.
    [Show full text]
  • Anselm Mcdonnell)
    DOCTOR OF PHILOSOPHY A Portfolio of Original Compositions (Anselm McDonnell) McDonnell, Anselm Award date: 2020 Awarding institution: Queen's University Belfast Link to publication Terms of use All those accessing thesis content in Queen’s University Belfast Research Portal are subject to the following terms and conditions of use • Copyright is subject to the Copyright, Designs and Patent Act 1988, or as modified by any successor legislation • Copyright and moral rights for thesis content are retained by the author and/or other copyright owners • A copy of a thesis may be downloaded for personal non-commercial research/study without the need for permission or charge • Distribution or reproduction of thesis content in any format is not permitted without the permission of the copyright holder • When citing this work, full bibliographic details should be supplied, including the author, title, awarding institution and date of thesis Take down policy A thesis can be removed from the Research Portal if there has been a breach of copyright, or a similarly robust reason. If you believe this document breaches copyright, or there is sufficient cause to take down, please contact us, citing details. Email: [email protected] Supplementary materials Where possible, we endeavour to provide supplementary materials to theses. This may include video, audio and other types of files. We endeavour to capture all content and upload as part of the Pure record for each thesis. Note, it may not be possible in all instances to convert analogue formats to usable digital formats for some supplementary materials. We exercise best efforts on our behalf and, in such instances, encourage the individual to consult the physical thesis for further information.
    [Show full text]
  • Redefining Radio Art in the Light of New Media Technology Through
    Title Radio After Radio: Redefining radio art in the light of new media technology through expanded practice Type Thesis URL http://ualresearchonline.arts.ac.uk/8748/ Date 2015 Citation Hall, Margaret A. (2015) Radio After Radio: Redefining radio art in the light of new media technology through expanded practice. PhD thesis, University of the Arts London. Creators Hall, Margaret A. Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected]. License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author 1 Margaret Ann Hall Radio After Radio: Redefining radio art in the light of new media technology through expanded practice Thesis for PhD degree awarded by the University of the Arts London June 2015 2 Abstract I have been working in the field of radio art, and through creative practice have been considering how the convergence of new media technologies has redefined radio art, addressing the ways in which this has extended the boundaries of the art form. This practice- based research explores the rich history of radio as an artistic medium and the relationship between the artist and technology, emphasising the role of the artist as a mediator between broadcast institutions and a listening public. It considers how radio art might be defined in relation to sound art, music and media art, mapping its shifting parameters in the digital era and prompting a consideration of how radio appears to be moving from a dispersed „live‟ event to one consumed „on demand‟ by a segmented audience across multiple platforms.
    [Show full text]
  • AS SLOW AS POSSIBLE We SF People Like to Think of Ourselves As Formers (Any Number Can Play) to Remain Being Capable of Taking the Long View
    REFLECTIONS Robert Silverberg AS SLOW AS POSSIBLE We SF people like to think of ourselves as formers (any number can play) to remain being capable of taking the long view. It is utterly silent for the entire duration of a routine matter for us to contemplate the the piece, four minutes and thirty-three state of things in the year 3914, or 39,914, seconds. The idea, I believe, is that fortu- or even, for those among us who have the itous sounds occurring during the perfor- true Stapledonian outlook about futurity, mance, a cough in the audience or the the year 3,914,914,914. (If you wonder rustling of papers or the passing of an air- what the phrase “Stapledonian outlook” plane overhead, will provide the actual means, check out Olaf Stapledon’s great “music,” and we are expected to interpret novels Last and First Men and Starmak- that pattern of random sounds in any er, which I discussed here a couple of way we wish. Cage, a student of Oriental years ago. You have never read anything philosophy and a considerable philoso- like them.) pher in his own right, believed strongly in Familiar as we are with the grand the role of randomness in the arts, and stretch of futurity, it should be easy was fond of leaving many factors to enough for us to become willing partici- chance in his compositions. pants in a musical concert that’s not ex- “4’33” ” is, as I said, notorious, and for pected to end until the year 2640.
    [Show full text]
  • Nothing Happened
    NOTHING HAPPENED A History Susan A. Crane !"#$%&'( )$*+,'-*". /',-- Stanford, California !"#$%&'( )$*+,'-*". /',-- Stanford, California ©2020 by the Board of Trustees of the Leland Stanford Junior University. All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or in any information storage or retrieval system without the prior written permission of Stanford University Press. Printed in the United States of America on acid-free, archival-quality paper Library of Congress Cataloging-in-Publication Data Names: Crane, Susan A., author. Title: Nothing happened : a history / Susan A. Crane. Description: Stanford, California : Stanford University Press, [2020] | Includes bibliographical references and index. Identifiers: LCCN 2020013808 (print) | LCCN 2020013809 (ebook) | ISBN 9781503613478 (cloth) | ISBN 9781503614055 (epub) Subjects: LCSH: History—Philosophy. | Collective memory. Classification: LCC D16.9 .C73 2020 (print) | LCC D16.9 (ebook) | DDC 901—dc23 LC record available at https://lccn.loc.gov/2020013808 LC ebook record available at https://lccn.loc.gov/2020013809 Cover design: Rob Ehle Cover photos: Historical marker altered from photo (Brian Stansbury) of a plaque commemorating the Trail of Tears, Monteagle, TN, superimposed on photo of a country road (Paul Berzinn). Both via Wikimedia Commons. Text design: Kevin Barrett Kane Typeset at Stanford University Press in 11/15 Mercury Text G1 A mind lively and at ease can do with seeing nothing, and can see nothing that does not answer. J#$, A0-",$, E MMA CONTENTS INTRODUCTION Episodes in a History of Nothing 1 EPISODE 1 Studying How Nothing Happens 21 EPISODE 2 Nothing Is the Way It Was 67 EPISODE 3 Nothing Happened 143 CONCLUSION There Is Nothing Left to Say 217 ACKNOWLEDGMENTS Thanks for Nothing 223 Notes! 227 Index 239 NOTHING HAPPENED Introduction EPISODES IN A HISTORY OF NOTHING !"#$# %&'()"**# +'( ,#**-.
    [Show full text]
  • Notas Sobre O Projeto John Cage Para Órgão DEBATES | UNIRIO, N
    VERA TERRA “Todas as coisas são um eco do nada”: Notas sobre o Projeto John Cage para Órgão DEBATES | UNIRIO, n. 22, p.80-108, dez., 2019. p. 80 ____________________________________________________________________________________ “Todas as coisas são um eco do nada”: Notas sobre o Projeto John Cage para Órgão Vera Terra1 Fig 1: Banner Do Projeto John Cage Para Órgao Em Domplatz, Halberstadt 1 Faculdade de Dança Angel Vianna, RJ. DEBATES | UNIRIO • Nº 22 • Dezembro 2019 VERA TERRA “Todas as coisas são um eco do nada”: Notas sobre o Projeto John Cage para Órgão DEBATES | UNIRIO, n. 22, p.80-108, dez., 2019. p. 81 ____________________________________________________________________________________ I. Introdução: raízes medievais do Projeto John Cage Para Órgão em Halberstadt A origem de Halberstadt remonta à Idade Média, quando o bispado foi fundado. A cidade foi destruída e reconstruída duas vezes, ressurgindo de suas cinzas, tal qual uma fênix. Da primeira vez, no século doze, foi arruinada pelas tropas do Duque da Saxônia, Henrique, o Leão; mais tarde, ao final da Segunda Guerra Mundial, pelos bombardeios dos Aliados. Após a reunificação da Alemanha, Halberstadt foi integrada ao novo estado da Saxônia-Anhalt, tornando-se a capital do distrito de Harz. Devido à preservação de seu passado medieval, a paisagem urbana de Halberstadt difere daquela das metrópoles e megalópoles contemporâneas, onde grandes arranha-céus ‒ essas imensas caixas de concreto e cimento ‒ se alongam em direção ao espaço. A linha do horizonte da cidade é desenhada pelas elevadas torres das várias catedrais góticas, que apontam graciosamente para o alto, aspirando ao céu. A cidade abriga igrejas e catedrais históricas que tangem seus sinos do alto de suas torres a intervalos de quinze minutos ao longo do dia, por vezes durante cinco minutos contínuos.
    [Show full text]