scholarly journals “Na ombreira da porta”: Intersecções para a construção poética de música visual.

2020 ◽  
Author(s):  
Ludmila Constantino da Silva Queirós ◽  
Paulo Bernardino Bastos
Keyword(s):  
Artistic Expression ◽  
John Cage ◽  
Time And Space ◽  
Karlheinz Stockhausen ◽  
Visual Music

This article first addresses the threshold (place of frontier) between arts in a generic way. Later approaches particularly the poetic intersection between Image and Sound, considering some authors that move conceptually amongst these two arts, such as: John Cage and Nan June Paik and others that establish collaborations among themselves to elaborate artistic constructions between Image and Sound, such as the Quay Brothers (Stephen and Timothy Quay) and Karlheinz Stockhausen, Godfrey Reggio and Philip Glass.This article, as an antechamber to the investigation of the intersection between Sound and Image, intends to illuminate how the analysis of this articulation of movement between the threshold of Sound and Image (door jamb) and how one (image) can be analyzed as another (sound), or how the two approaches (image-sound) may be, metaphorically, very similar (intersections for the poetic construction of visual music). In what way Time and Space can also determine this common “poetic place” of building “music / sound - visual” or the inverse “visual - sound / music”, consequently, and in this way, alert to the experiencing of an artistic expression that, in my opinion, intersects with all others (inherent condition of contemporaneity).

scholarly journals Composer dans l’ombre de Darmstadt (1987)

2010 ◽  
Vol 15 (3) ◽  
pp. 53-66
Author(s):  
Helmut Lachenmann
Keyword(s):  
John Cage ◽  
Karlheinz Stockhausen

Dans cet article rédigé en 1987 et publié en 1996 dans le recueil de texte intitulé Musik als existentielle Erfahrung, le compositeur Helmut Lachenmann porte un regard critique et autocritique sur l’expérience des cours d’été de Darmstadt, depuis le début des années 1950 jusqu’au début des années 1980. Décennie par décennie, il dégage les divers courants et tendances qui ont marqué l’histoire de Darmstadt en explicitant les paradoxes parfois insolubles engendrés par l’attitude avant-gardiste dont les cours d’été avaient fourni le modèle autour de 1950. À chaque fois, il se réfère à des expériences vécues, faisant intervenir Luigi Nono (son professeur autour de 1960), Dieter Schnebel, John Cage ou Karlheinz Stockhausen. Partisan d’un « structuralisme dialectique », l’auteur spécifie enfin sa position — en référence au festival de Donaueschingen de 1980 et à un texte de 1982, « Affect et aspect » — par rapport à celles de Wolfgang Rihm et de Walter Zimmermann, ainsi que d’autres compositeurs ayant (ou non) tenté de théoriser leur relation à la tradition et à la subjectivité.

Ghosts in the Machine: A Virtual Choral Performance as Hauntological Praxis During the COVID-19 Pandemic

2021 ◽  
pp. 42-55
Author(s):  
Clare Lesser
Keyword(s):  
New York ◽  
Abu Dhabi ◽  
Binary Opposition ◽  
New York University ◽  
Time And Space ◽  
Karlheinz Stockhausen ◽  
Choral Director ◽  
Sense Of Time ◽  
The Impact ◽  
Audio Mixing

An interwoven reading of the issues surrounding a performance – rehearsed and recorded remotely and hosted virtually – of Sxip Shirey and Coco Karol’s The Gauntlet: Far Away, Together, for 15 voices and electronics (given at New York University Abu Dhabi in March 2021, in which I was choral director), and Jacques Derrida’s Specters of Marx (1993/2006). I examine the impact that COVID-19 had on realising this performance – which had originally been intended for a ‘live’ and fully immersive and interactive presentation – and consider how earlier models of hauntological praxis in works by Karlheinz Stockhausen have parallels with performing during the pandemic. I explore the ways in which working in isolation, with little sense of time or location, foster a sense of ‘aporia’ or perplexity, overturning the binary opposition of time and space, and how the use of the SPAT immersive audio mixing tool to electronically process single voices into multiple, spatially realised echoes (ghosts) of themselves, truly gives us ‘ghosts’ in the machine.

Electronic Music

Artful Noise ◽  
2020 ◽  
pp. 107-117
Author(s):  
Thomas Siwe
Keyword(s):  
World War Ii ◽  
Real Time ◽  
Electronic Music ◽  
John Cage ◽  
World War ◽  
Karlheinz Stockhausen ◽  
Edgard Varese ◽  
American Composer ◽  
The Difference ◽  
Musique Concrete

With the end of World War II came the rebirth of European radio. Government stations in both France and Germany established experimental studios for research, from which arose a new kind of music, “electronic music.” The station in France, Office de Radiodiffusion Télevision Française (ORTF), was directed by the engineer/composer Pierre Schaeffer and his partner, Pierre Henry, who called their musical creations musique concrète. In Germany the Westdeutscher Rundfunk (WDR) studio produced music through the process of “synthesis.” This chapter will explain the difference between the two approaches used to create electronic music with examples from the percussion solo and ensemble repertoire. Early experiments using wire recorders, test records, and tape recorders by composers Halim El-Dabh, John Cage, and Edgard Varèse precede the major electronic works of Karlheinz Stockhausen, Mario Davidovsky, and the American composer Stephen Everett, whose use of computers in “real time” brings the reader into the next century.

scholarly journals Aborder la modernité : Triptyque et Lignes et points de Pierre Mercure

2011 ◽  
Vol 21 (3) ◽  
pp. 99-116
Author(s):  
Brian Cherney
Keyword(s):  
John Cage ◽  
Karlheinz Stockhausen

Les deux oeuvres pour orchestre Triptyque (1959) et Lignes et points (1964) illustrent les diverses façons qu’avait Pierre Mercure d’aborder l’héritage du modernisme musical. Un des traits fondamentaux de la musique d’allégeance moderniste – et une préoccupation qui relie les compositeurs des premières décennies du xxe siècle (Bartók, Stravinsky, Berg, Hindemith, Honnegger, etc.) avec ceux qui relèvent de l’avant-garde musicale de l’après-guerre – se trouve dans un souci de symétrie. Pour sa part, Mercure emploie des formes symétriques pour structurer les deux oeuvres étudiées dans cet article à divers niveaux. Dans Triptyque, la surface de la musique reste tout à fait traditionnelle, alors que plusieurs aspects de sa structure (un peu cachés) relèvent d’une sensibilité résolument moderniste. Dans Lignes et points, au contraire, la surface de la musique, les sons, les couleurs et les textures sont empreints d’un caractère moderne, voire avant-gardiste, alors que sa structure pour ainsi dire « souterraine » se résume à un thème et variations de confection tout à fait classique (bien que cette forme ne s’entende pas nécessairement comme telle). D’autres aspects de ces deux oeuvres révèlent l’influence sur Mercure de ses contemporains, tels que Karlheinz Stockhausen, Earle Brown et John Cage, dont Mercure a entendu les oeuvres lors de la Semaine internationale de musique actuelle (SIMA) qu’il a organisée en 1961.

Fischinger, Oskar (1900–1967)

2018 ◽  
Author(s):  
Richard J. Leskosky
Keyword(s):  
Los Angeles ◽  
Original Art ◽  
The United States ◽  
Orchestral Music ◽  
John Cage ◽  
Special Effects ◽  
Avant Garde ◽  
Visual Music ◽  
Abstract Expressionist ◽  
Short Time

Oskar Fischinger (b. 22 June 1900, Gelnhausen, Germany; d. 31 January, 1967, Los Angeles, US) was one of the most influential German abstract experimental animators and creators of visual music. As a youth he studied draughtsmanship and engineering. In 1922, he invented a machine that photographed sequential slices of wax blocks, producing an abstract film in a relatively short time. In Munich, he continued his experiments in creating visual equivalents to orchestral music while making animated cartoons and multi-projector light shows. In Berlin, he did special effects for Fritz Lang’s Frau im Mond [Woman in the Moon] (1929), helped develop the three colour Gasparcolor process, and made stop-motion commercials. In 1936, Fischinger immigrated to the United States. In 1937 he composed the abstract short An Optical Poem to Liszt’s ‘Hungarian Rhapsody No. 2’ for MGM. He worked nine months on the ‘Toccata and Fugue’ segment of Disney’s Fantasia (1940), but none of his original art appears in the film. He continued making abstract expressionist visual music films until 1947, culminating in his masterwork Motion Painting No. 1. Lack of funding subsequently restricted him to painting; around this time he invented a machine to generate artificial sounds. In 1955 he patented the ‘lumigraph’, which enabled its operator to create silent moving colour compositions. Fischinger influenced a host of avant-garde animators, including Norman McLaren, Jordan Belson, and Len Lye, as well as composer John Cage.

Choreographing Epic

2018 ◽  
pp. 149-163
Author(s):  
Arabella Stanger
Keyword(s):  
Contemporary Dance ◽  
John Cage ◽  
Time And Space ◽  
Time Space

This chapter brings contemporary dance into dialogue with modernist and Homeric epics through an exploration of Merce Cunningham’s dance in the round, Ocean (1994). Born from Joseph Campbell’s suggestion to Cunningham and John Cage that James Joyce’s next project was to be a book about water, Ocean stages a Joycean choreography of the oceanic. Mikhail Bakhtin’s chronotope is taken here as a theoretical instrument for identifying the ocean as an epic time-space par excellence and for tracing the ways in which representations of oceanic scale have travelled from Homer, through Joyce, to live in Cunningham’s choreographic space. The chapter argues that from Homer’s watery epics, and via Joyce’s literary protractions, Cunningham inherits an epic conception of time and space in which the expanse of the ocean is invoked through environments made multiple. With this argument, the chapter brings into relief the literary and the classical pretexts for Cunningham’s choreographic art.

The Shiraz Arts Festival: Western Avant-Garde Arts in 1970s Iran

Leonardo ◽  
2007 ◽  
Vol 40 (1) ◽  
pp. 20-28 ◽  
Author(s):  
Robert Gluck
Keyword(s):  
Electronic Music ◽  
John Cage ◽  
Islamic Revolution ◽  
Karlheinz Stockhausen ◽  
Iannis Xenakis ◽  
Avant Garde ◽  
Peter Brook ◽  
Merce Cunningham ◽  
Arts Festival ◽  
Theater Directors

Iran in the 1970s was host to an array of electronic music and avant-garde arts. In the decade prior to the Islamic revolution, the Shiraz Arts Festival provided a showcase for composers, performers, dancers and theater directors from Iran and abroad, among them Iannis Xenakis, Peter Brook, John Cage, Gordon Mumma, David Tudor, Karlheinz Stockhausen and Merce Cunningham. A significant arts center, which was to include electronic music and recording studios, was planned as an outgrowth of the festival. While the complex politics of the Shah's regime and the approaching revolution brought these developments to an end, a younger generation of artists continued the festival's legacy.

John Cage und Karlheinz Stockhausen

2003 ◽  
Vol 44 (3) ◽  
pp. 411-422
Author(s):  
Hellmut Federhofer
Keyword(s):  
John Cage ◽  
Karlheinz Stockhausen

Boulez's Künstlerroman: Using blocs sonores to Overcome Anxieties and Influence in Le marteau sans maître

2018 ◽  
Vol 71 (1) ◽  
pp. 109-154 ◽  
Author(s):  
Joseph Salem
Keyword(s):  
John Cage ◽  
Artistic Development ◽  
Karlheinz Stockhausen ◽  
Analytical Basis ◽  
Anxiety Of Influence ◽  
Self Discovery ◽  
Personal Reflections ◽  
Previous Scholarship

Previous scholarship on Pierre Boulez's Le marteau sans maître celebrates the analytical basis of the piece, with particular emphasis on Boulez's concept of the bloc sonore and its role in Le marteau's design. This article synthesizes aspects of this scholarship with Boulez's personal reflections from the years 1953–55, many of which remain unpublished to this day. Utilizing Boulez's correspondence with Karlheinz Stockhausen and John Cage, as well as his own published writings and the sketches for Le marteau, I present the story of an artist on the path to self-discovery. I also shift the discussion of blocs sonores away from viewing them as musical objects necessary for the analysis of Le marteau to recognizing their significance as a cultural and aesthetic concept at the heart of Boulez's artistic development at this time. Finally, I use the literary trope of “anxiety of influence” to relate Boulez's own maturation to his struggle to escape the shadow and influence of Schoenberg. By humanizing a work that is often cited for its analytical virtuosity and poetic audacity rather than the network of biographical circumstances behind its creation, I attempt to reorient our ears from the rigidness of integral serialism to the broader significance of Boulez's score.

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