A Keynote Lecture by Professor Henri Pousseur Given As Part of the Symposium on Open Works at Goldsmiths College, London, February 18Th, 2005
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The Rai Studio Di Fonologia (1954–83)
ELECTRONIC MUSIC HISTORY THROUGH THE EVERYDAY: THE RAI STUDIO DI FONOLOGIA (1954–83) Joanna Evelyn Helms A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2020 Approved by: Andrea F. Bohlman Mark Evan Bonds Tim Carter Mark Katz Lee Weisert © 2020 Joanna Evelyn Helms ALL RIGHTS RESERVED ii ABSTRACT Joanna Evelyn Helms: Electronic Music History through the Everyday: The RAI Studio di Fonologia (1954–83) (Under the direction of Andrea F. Bohlman) My dissertation analyzes cultural production at the Studio di Fonologia (SdF), an electronic music studio operated by Italian state media network Radiotelevisione Italiana (RAI) in Milan from 1955 to 1983. At the SdF, composers produced music and sound effects for radio dramas, television documentaries, stage and film operas, and musical works for concert audiences. Much research on the SdF centers on the art-music outputs of a select group of internationally prestigious Italian composers (namely Luciano Berio, Bruno Maderna, and Luigi Nono), offering limited windows into the social life, technological everyday, and collaborative discourse that characterized the institution during its nearly three decades of continuous operation. This preference reflects a larger trend within postwar electronic music histories to emphasize the production of a core group of intellectuals—mostly art-music composers—at a few key sites such as Paris, Cologne, and New York. Through close archival reading, I reconstruct the social conditions of work in the SdF, as well as ways in which changes in its output over time reflected changes in institutional priorities at RAI. -
Expanding Horizons: the International Avant-Garde, 1962-75
452 ROBYNN STILWELL Joplin, Janis. 'Me and Bobby McGee' (Columbia, 1971) i_ /Mercedes Benz' (Columbia, 1971) 17- Llttle Richard. 'Lucille' (Specialty, 1957) 'Tutti Frutti' (Specialty, 1955) Lynn, Loretta. 'The Pili' (MCA, 1975) Expanding horizons: the International 'You Ain't Woman Enough to Take My Man' (MCA, 1966) avant-garde, 1962-75 'Your Squaw Is On the Warpath' (Decca, 1969) The Marvelettes. 'Picase Mr. Postman' (Motown, 1961) RICHARD TOOP Matchbox Twenty. 'Damn' (Atlantic, 1996) Nelson, Ricky. 'Helio, Mary Lou' (Imperial, 1958) 'Traveling Man' (Imperial, 1959) Phair, Liz. 'Happy'(live, 1996) Darmstadt after Steinecke Pickett, Wilson. 'In the Midnight Hour' (Atlantic, 1965) Presley, Elvis. 'Hound Dog' (RCA, 1956) When Wolfgang Steinecke - the originator of the Darmstadt Ferienkurse - The Ravens. 'Rock All Night Long' (Mercury, 1948) died at the end of 1961, much of the increasingly fragüe spirit of collegial- Redding, Otis. 'Dock of the Bay' (Stax, 1968) ity within the Cologne/Darmstadt-centred avant-garde died with him. Boulez 'Mr. Pitiful' (Stax, 1964) and Stockhausen in particular were already fiercely competitive, and when in 'Respect'(Stax, 1965) 1960 Steinecke had assigned direction of the Darmstadt composition course Simón and Garfunkel. 'A Simple Desultory Philippic' (Columbia, 1967) to Boulez, Stockhausen had pointedly stayed away.1 Cage's work and sig- Sinatra, Frank. In the Wee SmallHoun (Capítol, 1954) Songsfor Swinging Lovers (Capítol, 1955) nificance was a constant source of acrimonious debate, and Nono's bitter Surfaris. 'Wipe Out' (Decca, 1963) opposition to himz was one reason for the Italian composer being marginal- The Temptations. 'Papa Was a Rolling Stone' (Motown, 1972) ized by the Cologne inner circle as a structuralist reactionary. -
Artistic Name: Flo Menezes Date of Birth: 18Th April 1962 Nationality
Flo Menezes – Curriculum Vitae 1 Artistic Name: Flo Menezes Full Name: Florivaldo Menezes Filho Date of birth: 18th April 1962 Nationality: Brazilian and Italian. Summary Flo MENEZES was born in São Paulo in 1962. Between 1980 and 1985 he studied Composition with Willy Corrêa de Oliveira at the University of São Paulo (USP), where he had also classes of musical analysis with Gilberto Mendes. In 1986 he became a German scholarship of DAAD to study Electronic Composition with Hans Ulrich Humpert at the Cologne Studio für elektronische Musik of the Music High School, where he was active as guest composer until the end of 1990, receiving his German diploma in 1989 (Mauricio Kagel, Hans Werner Henze and other in the jury). In 1991 he lived in Italy and worked as a composer at the Centro di Sonologia Computazionale of the University of Padua, working with Music V. In 1988 he was selected for the International Centre Acanthes Courses with Pierre Boulez. In 1989 he was invited by the Mozarteum of Salzburg to follow all activities of Luciano Berio as guest composer of that Festival. In 1992 he concluded his PhD on Berios Music at the University of Liège, Belgium, under the orientation of Henri Pousseur. His analysis of Visage by Berio won unanimously the First Prize at the First International Prize for Musicology organized in Latina, Italy. In 1992, Berio himself asked Paul Sacher to afford him a scholarship to organize and develop research on Berios manuscripts at the Paul Sacher Foundation, Basle. In 1994 he founded the Studio PANaroma of Electroacoustic Music at the State University of São Paulo (Unesp), internationally considered as the most important center of research and production of electroacoustic music in Brazil. -
Latin American Nimes: Electronic Musical Instruments and Experimental Sound Devices in the Twentieth Century
Latin American NIMEs: Electronic Musical Instruments and Experimental Sound Devices in the Twentieth Century Martín Matus Lerner Desarrollos Tecnológicos Aplicados a las Artes EUdA, Universidad Nacional de Quilmes Buenos Aires, Argentina [email protected] ABSTRACT 2. EARLY EXPERIENCES During the twentieth century several Latin American nations 2.1 The singing arc in Argentina (such as Argentina, Brazil, Chile, Cuba and Mexico) have In 1900 William du Bois Duddell publishes an article in which originated relevant antecedents in the NIME field. Their describes his experiments with “the singing arc”, one of the first innovative authors have interrelated musical composition, electroacoustic musical instruments. Based on the carbon arc lutherie, electronics and computing. This paper provides a lamp (in common use until the appearance of the electric light panoramic view of their original electronic instruments and bulb), the singing or speaking arc produces a high volume buzz experimental sound practices, as well as a perspective of them which can be modulated by means of a variable resistor or a regarding other inventions around the World. microphone [35]. Its functioning principle is present in later technologies such as plasma loudspeakers and microphones. Author Keywords In 1909 German physicist Emil Bose assumes direction of the Latin America, music and technology history, synthesizer, drawn High School of Physics at the Universidad de La Plata. Within sound, luthería electrónica. two years Bose turns this institution into a first-rate Department of Physics (pioneer in South America). On March 29th 1911 CCS Concepts Bose presents the speaking arc at a science event motivated by the purchase of equipment and scientific instruments from the • Applied computing → Sound and music German company Max Kohl. -
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). -
Storia E Analisi Della Musica Elettronica
Storia e analisi della Musica Elettronica (Biennio di Musicologia) crediti ?? 36 h, lezioni frontali collettive con ascolti ed esercitazioni Programma d’esame La musica che fa uso di tecnologie legate all’elettricità ha creato nel corso di questo ultimo secolo un repertorio che fonde insieme problematiche musicali (compositive e interpretative) e riflessioni scientifiche-epistemologiche; indagare queste relazioni si mostra essenziale per il compositore e l’interprete dei musica elettro-acustica. Introduzione: riepilogodelle principali tendenze e protagonisti della musica del ‘900 I primi esempi di musica con tecnologie elettriche/elettroniche: Musique concrète, Musica elettronica pura, Tape music, Musica elettroacustica, Musica acusmatica, Musica sperimentale. Gli studi di musica elettronica analogica degli anni '50, le tecniche compositive, i sistemi di notazione, le prassi esecutive. Lo studio di Fonologia Musicale della Rai di Milano. Caratteristiche generali della musica elettroacustica degli anni '60. Analisi e ascolti di uno o più estratti di un'opera degli anni '50 tratti fra i seguenti: Pierre Schaeffer, Cinq études de bruits (1948) John Cage, Imaginary Landscape n. 5 (1952) Karlheinz Stockhausen, Studie I (1953) Karlheinz Stockhausen, Studie II (1954) Karlheinz Stockhausen, Gesang der Jünglinge (1955-56) György Ligeti, Glissandi (1957) Henri Pousseur, Scambi (1957) Franco Evangelisti, Incontri di fasce sonore (1957) Luciano Berio, Thema (Omaggio a Joyce) (1958) John Cage, Fontana Mix (1958) György Ligeti, Artikulation (1958) -
Active Preservation of Electrophone Musical Instruments
ACTIVE PRESERVATION OF ELECTROPHONE MUSICAL INSTRUMENTS. THE CASE OF THE “LIETTIZZATORE” OF “STUDIO DI FONOLOGIA MUSICALE” (RAI, MILANO) Sergio Canazza, Federico Avanzini Antonio Roda` SMC Group, Dept. of Information Engineering Maria Maddalena Novati AVIRES Lab., Dept. of Informatics University of Padova RAI, Milano Viale delle Scienze, Udine Via Gradenigo 6/B, 35131 Padova Archivio di Fonologia University of Udine [email protected] [email protected] [email protected] [email protected] ABSTRACT installation consisting of a SW-HW system that re-creates the electronic lutherie of the Studio, allowing users to in- This paper presents first results of an ongoing project de- teract with such lutherie. In particular, the production setup voted to the analysis and virtualization of the analog elec- originally employed to compose Scambi is considered as a tronic devices of the “Studio di Fonologia Musicale”, one relevant case study. Achieving the goal of the project im- of the European centres of reference for the production of plies (i) analyzing the original devices through both project electroacoustic music in the 1950’s and 1960’s. After a schemes and direct inspection; (ii) validating the analysis brief summary of the history of the Studio, the paper dis- through simulations with ad-hoc tools (particularly Spice cusses a particularly representative musical work produced – Simulation Program with Integrated Circuit Emphasis, a at the Studio, Scambi by Henri Pousseur, and it presents software especially designed to simulate analog electronic initial results on the analysis and simulation of the elec- circuits [3]); (iii) developing physical models of the analog tronic device used by Pousseur in this composition, and the devices, which allow efficient simulation of their function- ongoing work finalized at developing an installation that ing (according to the virtual analog paradigm [4]); (iv) de- re-creates such electronic lutherie. -
Vox Sola Music for Solo Voice Feldman · Pousseur · De Pablo · Kurtág Bussotti · Andriessen · Kagel · Macmillan
95791 Vox Sola music for solo voice Feldman · Pousseur · De Pablo · Kurtág Bussotti · Andriessen · Kagel · Macmillan Lorna Windsor Vox Sola Music for Solo Voice 1. Morton Feldman Only 1’37 8. Ein merkwürdiger Gedanke 0’47 22. Sylvano Bussotti Mauricio Kagel Poem by Rainer Maria Rilke, 9. Dank 0’28 Lettura di Braibanti 4’28 ‘Der Turm zu Babel’ Sonnette an Orpheus, XIII, 10. Geständnis 0’34 from “Sette Fogli” 1963, Text from First Book of Moses, translation by J.B.Leishman 11. Eine wichtige Bemerkung 0’37 dedicated to Henri Pousseur. Chapter 11 (Genesis: The Tower 12. Franklin, der Erfinder 0’45 (Version for Lorna Windsor of Babel) 2. Henri Pousseur 13. Gebet 0’26 adapted by Marcello Panni) 24. Kaj la Eternulo mallevigis 3’36 Pour Baudelaire 1’40 14. Alpenspitzen näher der Sonne, 25. Wajomer Adonai... 3’12 from “Correspondances”, aber kalt und unfruchtbar. 0’25 23. Louis Andriessen 26. “Venez donc” 2’13 Les Fleurs du Mal, dedicated 15. Im Dunkel rot werden. 0’27 A Song of the Sea 3’35 27. Και ει´πεν Κυ´ριος 3’04 to Jacques Fourgon 16. Der gute Ton liegt dort um original words by Hélène 28. O Senhor disse 1’54 eine Oktave niedriger. 0’32 Swarth, English words by 29. Now Yahweh said 2’13 3. Luis de Pablo “Surcar vemos” da 17. Das Mädchen hatte ein Paar Nicoline Gatehouse 30. Und dann sagte der Herr 2’22 “Tarde de poetas” (1985-86) 5’27 sündlich schöne Hände 0’18 31. Ve âdem og˘ullarının yapmakta 2’42 text from “Soledad primera” 18. -
18 Contemporary Opera and the Failure of Language
18 CONTEMPORARY OPERA AND THE FAILURE OF LANGUAGE Amy Bauer Opera after 1945 presents what Robert Fink has called ‘a strange series of paradoxes to the historian’.1 The second half of the twentieth century saw new opera houses and companies pro- liferating across Europe and America, while the core operatic repertory focused on nineteenth- century works. The collapse of touring companies confined opera to large metropolitan centres, while Cold War cultural politics often limited the appeal of new works. Those new works, whether written with political intent or not, remained wedded historically to ‘realism, illusion- ism, and representation’, as Carolyn Abbate would have it (as opposed to Brechtian alienation or detachment).2 Few operas embraced the challenge modernism presents for opera. Those few early modernist operas accepted into the canon, such as Alban Berg’s Wozzeck, while revolu- tionary in their musical language and subject matter, hew closely to the nature of opera in its nineteenth-century form as a primarily representational medium. As Edward Cone and Peter Kivy point out, they bracket off that medium of representation – the character singing speech, for instance, in an emblematic translation of her native tongue – to blur diegetic song, ‘operatic song’ and a host of other conventions.3 Well-regarded operas in the immediate post-war period, by composers such as Samuel Barber, Benjamin Britten, Francis Poulenc and Douglas Moore, added new subjects and themes while retreating from the formal and tonal challenges of Berg and Schoenberg. -
Holmes Electronic and Experimental Music
C H A P T E R 2 Early Electronic Music in Europe I noticed without surprise by recording the noise of things that one could perceive beyond sounds, the daily metaphors that they suggest to us. —Pierre Schaeffer Before the Tape Recorder Musique Concrète in France L’Objet Sonore—The Sound Object Origins of Musique Concrète Listen: Early Electronic Music in Europe Elektronische Musik in Germany Stockhausen’s Early Work Other Early European Studios Innovation: Electronic Music Equipment of the Studio di Fonologia Musicale (Milan, c.1960) Summary Milestones: Early Electronic Music of Europe Plate 2.1 Pierre Schaeffer operating the Pupitre d’espace (1951), the four rings of which could be used during a live performance to control the spatial distribution of electronically produced sounds using two front channels: one channel in the rear, and one overhead. (1951 © Ina/Maurice Lecardent, Ina GRM Archives) 42 EARLY HISTORY – PREDECESSORS AND PIONEERS A convergence of new technologies and a general cultural backlash against Old World arts and values made conditions favorable for the rise of electronic music in the years following World War II. Musical ideas that met with punishing repression and indiffer- ence prior to the war became less odious to a new generation of listeners who embraced futuristic advances of the atomic age. Prior to World War II, electronic music was anchored down by a reliance on live performance. Only a few composers—Varèse and Cage among them—anticipated the importance of the recording medium to the growth of electronic music. This chapter traces a technological transition from the turntable to the magnetic tape recorder as well as the transformation of electronic music from a medium of live performance to that of recorded media. -
Messiaen's Influence on Post-War Serialism Thesis
3779 N8! RI. oIo MESSIAEN'S INFLUENCE ON POST-WAR SERIALISM THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC by Thomas R. Muncy, B.A. Denton, Texas August, 1984 Muncy, Thomas R., Messiaen's Influence on Post-'gar Serialism. Master of Music (Theory), August, 1984, 106 pp., 76 examples, biblio- graphy, 44 titles. The objective of this paper is to show how Olivier Messiaen's Mode de valeurs et d'intensites influenced the development of post- war serialism. Written at Darmstadt in 1949, Mode de valeurs is considered the first European work to organize systematically all the major musical parameters: pitch, duration, dynamics, articulation, and register. This work was a natural step in Messiaen's growth toward complete or nearly complete systemization of musical parameters, which he had begun working towards in earlier works such as Vingt regards sur 1'Enfant-Jesus (1944), Turangalila-symphonie (1946-8), and Cantyodjaya (1949), and which he continued to experiment with in later works such as Ile de Feu II (1951) and Livre d'orgue (1951). The degree of systematic control that Messiaen successfully applied to each of the musical parameters influenced two of the most prominent post-war serial composers, Pierre Boulez and Karlheinz Stockhausen, to further develop systematic procedures in their own works. This paper demonstrates the degree to which both Boulez' Structures Ia (1951) and Stockhausen's Kreuzspiel (1951) used Mode de valeurs as a model for the systematic organization of musical parameters. TABLE OF CONTENTS Page LIST OF EXAMPLES..-.........-... -
Algorithms As Scores: Coding Live Music
Algorithms as Scores: Coding Live Music a b s t r a c t Thor Magnusson The author discusses live coding as a new path in the evolution of the musical score. Live-coding practice accentu- ates the score, and whilst it is the perfect vehicle for the performance of algorithmic music it also transforms the compositional process itself into a live event. As a continuation of 20th-century artistic develop- raditionally the score is thought of as a mes- scholar we find the roots of many ments of the musical score, T live-coding systems often sage from a composer to an instrumentalist who interprets important ideas engaged here. embrace graphical elements and the given information. Although the emphasis varies, the mu- In the centuries after d’Arezzo, language syntaxes foreign to sical score can be conceived as both a description of music in Western culture has exhibited a standard programming lan- the form of written marks and a prescription of gestures for an strong desire to capture music: to guages. The author presents live instrumentalist. It has served as what we now call a “file for- represent it in the silence of the coding as a highly technologized mat,” where the paper (or parchment) stores the music for written marks and invoke it again artistic practice, shedding light on how non-linearity, play and later realization or consumption. However, the score is more through the interpretation of signs. generativity will become promi- than encoded music. It is also a compositional tool through It is a tradition interlocked in a nent in future creative media which composers are able to externalize their thoughts onto strongly formalistic attitude toward productions.