scholarly journals Spatiality as creativity in the music of Kaija Saariaho: A reflection with a focus on 'Lichtbogen'

2021 ◽  
pp. 155-173
Author(s):  
Herck van
Keyword(s):  
Creative Process ◽  
Spectral Approach ◽  
Musical Form ◽  
Spectral Music ◽  
Time And Space ◽  
Virtual Spaces ◽  
Graphic Analysis ◽  
Score Analysis ◽  
Listening Experience ◽  
Architecture And Music

In this article Saariaho's music - with a focus on Lichtbogenis explored from the perspective of spatiality. First, Saariaho's connection with Finland is discussed and in particular how Finnish space and time have influenced her music.Together with space, there is the relation between time and light. In fact, the creative process by Saariaho is strongly influenced by visual experiences. The title of Lichtbogen refers to the Nordic lights, and therefore it is an interesting example. In her article on similarities between architecture and music, Saariaho defines with great clarity her music: "Capturing time and giving it form." In this phrase she connects the aspect of time and space with musical form. Understanding how Saariaho'sconception of musical form brings the concept of a multidimensional network to the discussion. Saariaho developed this concept for Verblendungen, and the same principle has been used for an analysis of Lichtbogen. This analysis is not a score analysis, instead, it is based on the listening experience of several recordings. As Saariaho is concerned with the perception of her music, a listening-based graphic analysis is proposed based on listening. It captures an illuminating perspective on the form of Lichtbogen. Given the importance of timbre in Saariaho's music, and the way how timbre and form are connected, the question of her relation with spectral music is unavoidable. Saariaho lived in Paris during the '80s, when early spectralism made important developments. And her music is indeed deeply influenced by the spectral approach in many ways. However, there are differences, especially regarding her attitude towards musical form. Finally the discussion about space is taken to the perspective of electronics and how they contribute to the expression of space. In Lichtbogen, the amplification is used to make those sounds on the threshold of audibility audible, and the reverb is used to create virtual spaces. The concept of space is integrated in the composition itself. In conclusion, the concept of space is central to Saariaho's creativity. This connection is approached in this article from various perspectives.It illustrates how important the space is, in connection with time and light, in Saariaho'scompositional work.

scholarly journals KARYA MUSIK YOUTH KELOMPOK MUSIK SOLOENSIS (Kajian Proses Penciptaan Dan Makna Teks Lagu)

2019 ◽  
Vol 11 (2) ◽  
Author(s):  
Bekti Setyo Utomo
Keyword(s):  
Creative Process ◽  
Musical Composition ◽  
Musical Form ◽  
Major Scale

ABSTRACT This paper focuses on the creative process of the song entitled Youth, and also the meaning of the lyrics. The lyrics and the structure of the music presented is a contradiction between the lyrics and the musical form. The song Youth created by the Soloensis music group used the major scales. Then, the character of their musical composition is cheerful and uses instruments that are not normally played in their works. The song Youth is a song with a message about the anxiety of the creator's youth. In the end, the content of the message is transformed into a song with a contrasting musical composition. This music constructs an atmosphere of anxiety and sadness using the diatonic major scale which is usually cheerful. Kata kunci : musik youth, soloensis, makna teks lagu

Listening in the Rose Garden

2016 ◽  
Vol 26 ◽  
pp. 83-86
Author(s):  
Hugh Livingston
Keyword(s):  
Public Space ◽  
Landscape Design ◽  
Sound Art ◽  
Musical Form ◽  
Listening Experience ◽  
Outdoor Space ◽  
The Rose

As sound art finds its presence in public space, sound art in outdoor space is analyzed for potential modalities of new listening experience. In this paper the author proposes an energy map for understanding trajectory of experience and musical form. The author references theories of garden motility, temporality and site from landscape design, with ideas of how introduced sound shapes experience.

scholarly journals TRANSFORMASI GARAP GENDING CUCUR BAWUK KE DALAM MUSIK CAMPURSARI KELOMPOK BALISA

2020 ◽  
Vol 19 (2) ◽  
pp. 117-129
Author(s):  
Heri Prasetyo ◽  
Muhammad Nur Salim
Keyword(s):  
Creative Process ◽  
Qualitative Methodology ◽  
Transformation Process ◽  
Musical Form ◽  
Music Production ◽  
Related Data

The transformation of garap music into campursari music of the Balisa group in Sragen was motivated by the phenomenon of garap transfer from traditional musical karawitan into campursari musical form. This garap transition is a creative way for Balisa members to work on garap gending, one of which is Gendhing Cucur Bawuk into campursari music. The creative process that occurs in the elements of working on music is manifested in the stages in transforming the processing of gending. The transformation process of gending is influenced by several supporting factors. To answer this problem, the author uses the concept of garap and is supported by thoughts about transformation. This research uses a qualitative methodology, by conducting observations, interviews and literature studies so that information or related data are obtained. The purpose of this study was to determine the process of transformation of music production that occurred in the Balisa Campursari group. The results showed that the transformation of music production in the Campursaari Balisa group went through several stages such as instrument adjustment, laras adjustment, and style adjustment. The factors that support this transformation process are determined by the “penggarap”, garap determinant and garap consideration.Keywords: transformation, campursari music, garap gending.

scholarly journals Evolution of musical means in piano "symphonies" by S.Yarunsky

2021 ◽  
pp. 167-172
Author(s):  
Veronika Kamenska
Keyword(s):  
Creative Process ◽  
Complex Analysis ◽  
Musical Form ◽  
Musical Expression ◽  
New Type ◽  
First Time

The purpose of the article is to investigate in the piano work of the Ukrainian composer S.Yarunsky in his four symphonies for piano, a new type of figurative content and innovative means of musical expression. Methodology. The method of complex analysis is applied: the figurative content and musical form of four “symphonies” for piano are analyzed and their stylistic features are revealed. The scientific novelty lies in the fact that for the first time in Ukrainian musicology, the Four Symphonies for Piano by S.Yarunsky have been analyzed in detail and conclusions have been drawn based on this analysis. Conclusions. Four “symphonies” for piano by S.Yarunsky in Ukrainian music of the 1990s were indeed a new and important word. At that time, the composer formed his position regarding this genre: the use of the term “symphony” is associated with the author's desire to expand the timbre palette of the instrument, to orchestral multi-timbre thinking. S.Yarunsky is constantly looking for new themes and subjects, including those related to the era of pre-Christian Russia. The artist significantly expands the scope of the maticism to create specific images, looking for new means of musical expression and compositional schemes. A little time has passed since the appearance of S.Yarunsky's “symphonies”, but they managed to enter the creative process of modern Ukrainian music and performing practice.

Modeling the wave propagation in viscoacoustic media: An efficient spectral approach in time and space domain

2019 ◽  
Vol 126 ◽  
pp. 31-40 ◽  
Author(s):  
Khemraj Shukla ◽  
José M. Carcione ◽  
Reynam C. Pestana ◽  
Priyank Jaiswal ◽  
Turgut Özdenvar
Keyword(s):  
Wave Propagation ◽  
Spectral Approach ◽  
Time And Space ◽  
Space Domain

scholarly journals HIP HOP “BERASA” JAWA (PROSES PENCIPTAAN MUSIK HIP-HOP KM 7 YOGYAKARTA)

2019 ◽  
Vol 12 (1) ◽  
pp. 44-53
Author(s):  
Chandra Okta Abrianto
Keyword(s):  
Qualitative Research ◽  
Research Methods ◽  
Creative Process ◽  
Hip Hop ◽  
Traditional Music ◽  
Musical Structure ◽  
Musical Form ◽  
The West ◽  
Artistic Career ◽  
Textual Research

Boedi Pramono’s creativity as the creator of the Hip Hop KM 7 group is by combining Javanese traditional music with hip hop music. This paper reviews from the beginning of Boedi Pramono’s artistic career until the formation of Hip Hop KM 7. The problems that arise are (1) Revealing and explaining the formation and structure of Hip Hop KM 7’s music, (2) Explaining the creative process of Hip Hop KM 7’s music. To answer such problems, this research employs qualitative research methods by studying empiricism, trying to be able to express objectively which is more oriented towards the field of textual research, with the addition of Bambang Sunarto’s concept of the creative process in art. The creative process of art is the process of finding the constructive elements of art in regards with (1) the artist’s belief in creating the artwork, (2) the vocabulary and the artistic model, (3) the artistic concepts and (4) the artistic models, which are then used as means to create the artwork, thus answering the question. This article reveals that: firstly, the musical form presented by Hip Hop KM 7 is a digital-based music enriched with gamelan idioms and in general Javanese traditional music. Here, the musical structure is divided into two musical impressions, namely the West and the Traditional music. Secondly, Boedi Pramono with his musical creativity formed Hip Hop KM 7 from a thickly artistic environment and later included the traditional element and further the traditional dance to the hip hop music.Keywords: Hip-hop Jawa, Hip-hop Km 7, Hip hop Yogyakarta.

scholarly journals Searching for the right form: A self-taught village player recalling performance live

Muzikologija ◽  
2008 ◽  
pp. 203-223
Author(s):  
Jelena Jovanovic
Keyword(s):  
Creative Process ◽  
Cognitive Interview ◽  
Long Term Memory ◽  
Musical Form ◽  
Term Memory ◽  
Successful Attempt ◽  
Long Time ◽  
The Right ◽  
Musical Memory

Repertoire of the excellent self-taught traditional dvojnice-player, Miladin Arsenijevic, from the vicinity of Topola (central Serbia) consists of lyrical songs of a newer rural repertoire. During a 'cognitive interview', in his attempt to recall and reconstruct old-time traveler's (putnicko) playing through performance, a 'real music situation', he has gradually condensed the developed form of the homophonic shepherd's song into the fragmentary form of heterophonic traveler's playing. In this paper the accent is on the player's search and creative process in his attempt to derive the right musical form of a piece, using his long-term memory, since he has not heard or played the piece for quite a long time. It is also a successful attempt to bring musical data from passive to active musical memory, and a transit from one collective semantic musical code to another. The motoric component plays an important role as well. The analysis of musical change shows that musical memory is a distributive system, and data is organized in groups. Musical parameters change: rhythm and tone are changed first, while other parameters seem to depend mostly on the shape of the melodic model; they gradually change while this element finds its right form.

The Composition Model in Music: To the Issue of Evolution of Concept

10.34690/208 ◽  
2021 ◽  
pp. 152-165
Author(s):  
Марианна Сергеевна Высоцкая
Keyword(s):  
Creative Process ◽  
Composite Model ◽  
Logical Thinking ◽  
Musical Form ◽  
Artistic Creation ◽  
Concerto Grosso ◽  
Compositional Model ◽  
Fundamental Categories ◽  
The Way

Понятие композиционной модели как структурносемантического прототипа музыкальной формы развивалось и эволюционировало вместе с понятием композиции как эстетической категории и одной из основополагающих категорий художественного творчества. В роли композиционной модели выступает художественный канон или авторский текст; она задается извне или выстраивается по индивидуально разработанному алгоритму; способом ее представления может быть вербализованная система правил, графическая схема или объективированный в звуковой форме образец. С возрастанием значимости в творческом процессе абстрактно-логического мышления область моделируемого внемузыкального неуклонно расширяется: от следования стратегическим законам ораторской речи - к расчетам на основе математических формул, от «биоморфизма» - к «техноморфизму». В статье рассмотрена эволюция понятия композиционной модели на материале сочинений, принадлежащих разным эпохам и стилям: Токкаты из органного триптиха И. С. Баха BWV 564, органной Сонаты № 6 d-moLL из цикла ор. 65 Ф. Мендельсона, Симфонии in C И. Стравинского, Concerto grosso памяти Веберна Ф. Караева и «VOI(REX)» Ф. Леру. The concept of a composite modeL as a structuraLLy semantic prototype of a musicaL form deveLoped and evoLved aLong with the concept of composition as an aesthetic category and one of the fundamentaL categories of artistic creation. The compositionaL modeL is an artistic canon or author's text, it is given from outside or is buiLt according to an individuaLLy deveLoped algorithm, the way in which it is presented can be a verbatim system of ruLes, a graphicaL diagram or an audibLe specimen. With increasing importance in the creative process of abstract and LogicaL thinking, the area of modeLLed extramusicaL is steadiLy expanding: from foLLowing the strategic Laws of oratory speech to caLcuLating on the basis of mathematicaL formuLae, from “bio-morphism” to “techno-morphism.” The articLe considers the evoLution of the concept of the composition modeL on the materiaL of works beLonging to different epochs and styLes: Toccata from the organ triptych I. S. Bach BWV 564, Sonata 6 d-moLL from op. 65 F. MendeLssohn, Symphony in C I. Stravinsky, Concerto grosso in the memory of Webern F. Karaev and “VOI(REX)” F. Leroux.

scholarly journals ‘IT IS IMPORTANT ARTISTS REACT TO THE WORLD IN WHICH WE ALL LIVE’: AN INTERVIEW WITH PHILIPPE MANOURY ON LAB.ORATORIUM

Tempo ◽  
2020 ◽  
Vol 74 (293) ◽  
pp. 6-13
Author(s):  
Luis Velasco-Pufleau ◽  
Philippe Manoury
Keyword(s):  
Creative Process ◽  
The Political ◽  
Musical Form ◽  
Live Electronics ◽  
The World ◽  
Sound Spatialization ◽  
The Mediterranean

AbstractLab.Oratorium (2019) is the concluding part of Philippe Manoury's Köln Trilogy. It follows In situ (2013) and Ring (2016) in exploring the spoken voice as a musical element, the wider possibilities of the orchestra, and the use of sound spatialization and live electronics. Lab.Oratorium is also a work deeply rooted in the present. In this interview, Philippe Manoury discusses the political and poetic significance of this work, conceived as an artistic response to Europe's responsibility in the tragic situation of migrants around the Mediterranean. He also develops his thoughts on musical form, spatialization and creative process in music.

scholarly journals Om den psykologiske realiteten av langstrakt musikalsk form: Et musikkfilosofisk forsøk

2020 ◽  
pp. 191-214
Author(s):  
Erling E. Guldbrandsen
Keyword(s):  
Large Scale ◽  
Short Term Memory ◽  
Human Mind ◽  
Musical Composition ◽  
Musical Form ◽  
The Past ◽  
Time Flow ◽  
The Future ◽  
Listening Experience ◽  
Musical Listening

What is time? What is the relationship between music and time? Does time flow towards us from the future to the past, or do we move through time from the past to the future? Is there even such a thing as the “passage of time”, or is that a just another metaphorical construction? “The now” in human short-term memory lasts for approximately 3–5 seconds. In this article, the topic is how the consciousness can construct, experience and maintain coherence in longer-term occurrences, for example, a musical composition lasting 20–30 minutes. The article suggests that the form of these musical compositions is perhaps structured analogously with the long-term memory’s own hierarchical divisions and mode of operation in the human mind. The article discusses the connection between overview (hors-temps, meaning outside time) and process (durée, meaning duration) in the listening experience. To be able to follow a long-lasting musical form, be it in performance or in musical listening, one needs to be both “in” the time-flow and outside of it at the same time. Hence, since “presence” and “distance” are clearly different perspectives, they form a paradoxical relation of being both contradictory and mutually interdependent. The interplay between musical detail, overview and direction is relevant to the concept of Fernhören, coined by Heinrich Schenker and Wilhelm Furtwängler. Since music needs to unfold during time, a large-scale musical work cannot be seen merely as an object (Sein, or being) but is also a process of constant re-shaping and change (Werden, or becoming) in the workings of perception, memory and expectation in the listening experience.

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