Abstract: Many of the interrogations or dilemmas of the contemporary world found the answer in what was generically called the appeal to matrix. This genuine spiritual exercise of re-connection of the present to origins, to the primary source, revealed the ontological condition of timelessness, ahistorical, immutable (epi)phenomena, of those pure essences concentrated in the archetypal-referential layer of the human existence. The musical creation was no exception to this trend, the impasse generated by the deterministic excesses of the whole serialism or, conversely, by some questionable results of the extreme indeterminism proper to the avant-garde movements, stimulating the orientation of many composers to rediscover a universal grammar, as an emanation of a new ‘collective’ order (reverse of the utopian individualism). In this context, the music of oral tradition and therefore the world of the ancient modes represented a true revelation for the composers of the twentieth century, who were suddenly in front of some unsuspected (re)sources, with a major impact on all levels of edification of the musical work: morphology, syntax, timbrality, semantics etc. For the contemporary Romanian creators, the music of rituals, existing in the local archaic culture, opened unsuspected perspectives for which it meant to be a synthetic, inclusive and recoverer vision, where the primary (archetypal) genuine elements merge with the latest achievements of language of the European composers. Thus, anchored in a strong and genuine modal source, the compositions analysed in this paper evoke, in a manner as modern as possible, the atmosphere of some ancestral rituals such as: the invocation of rain during the drought (Paparudele, Scaloianul), funeral ceremony (Bocetul), traditions specific to the winter holidays and new year (Colinda, Cântecul de stea, Sorcova, Folklore traditional dances) etc. The reactivity of those rituals in the sound context of the twentieth century meant potentiating or resizing the archaic spirit of the primordial symbolic entities, in terms of some complexity levels generated by the technique of harmonies of chordal layers, of complex aggregates (gravitational or non-gravitational, geometric), of the mixture polyphonies and with global effect (group, mass), by the technique of heterophony, of texture and cluster, leading to the implementation of some processes of collective improvisation and instrumental theatre.
Abstract: The subject of this abstract is related to the notion of 'popular music', a notion that should be treated with extreme care, particularly when applied to Frederic Chopin, one of the greatest composers of Romanticism. By ‘popular music’, we mean a category of everyday music, set against the more intellectual kind, referred to as ‘classical’. We only need to look back to the culture of the nineteenth century to realize that this ‘popular music’ refers to the ‘music of the low’. It can be studied from a sociological viewpoint, or as sociological aesthetics. However, we cannot ignore the fact that, very quickly, this music spread to the wealthiest strata of the European society of the nineteenth century, while likewise the lowest classes often listen to the intellectual classical music, so pleasant to listen to. Further, we can observe that a sort of ‘sacralisation of kitsch’ occurs at the intersection between the classical and popular music. This process is the topic of this contribution. We will start by investigating the notion of kitsch through the study of Chopin’s popular compositions. However, before considering the popularisation of this music in today’s culture, we will have to focus on the use of the word kitsch in Chopin’s times, through his own musical aesthetics. Finally, the objective here will be to negate the theory that art is simply the intellectual definition of aesthetics. A kitsch can, obviously, only work on the emotivity of the masses, as it represents one of the features of culture-language (the words which the masses identify with). All art is transformed, becoming something outdated or even outmoded. Here, we are truly within a process of mythologization of art, through the study of the aesthetic reception of the musical work.
Abstract: Background in music analysis: Traditionally, when we
think about a composer’s sketches, the chances are that we are
thinking in terms of the working out of detail, rather than the
evolution of an overall concept. Since music is a “time art,” it follows
that questions of a form cannot be entirely detached from
considerations of time. One could say that composers tend to regard
time either as a place gradually and partially intuitively filled, or they
can look for a specific strategy to occupy it. It seems that the one
thing that sheds light on Stockhausen’s compositional thinking is his
frequent use of “form schemas,” that is often a single-page
representation of the entire structure of a piece.
Background in music technology: Sonic Visualiser is a program
used to study a musical recording. It is an open source application for
viewing, analyzing, and annotating music audio files. It contains a
number of visualisation tools, which are designed with useful default
parameters for musical analysis. Additionally, the Vamp plugin
format of SV supports to provide analysis such as for example
structural segmentation.
Aims: The aim of paper is to show how SV may be used to obtain
a better understanding of the specific musical work, and how the
compositional strategy does impact on musical structures and musical
surfaces. It is known that “traditional” music analytic methods don’t
allow indicating interrelationships between musical surface (which is
perceived) and underlying musical/acoustical structure.
Main Contribution: Stockhausen had dealt with the most diverse
musical problems by the most varied methods. A characteristic which
he had never ceased to be placed at the center of his thought and
works, it was the quest for a new balance founded upon an acute
connection between speculation and intuition. In the case with
Mikrophonie I (1964) for tam-tam and 6 players Stockhausen makes
a distinction between the “connection scheme,” which indicates the
ground rules underlying all versions, and the form scheme, which is
associated with a particular version. The preface to the published
score includes both the connection scheme, and a single instance of a
“form scheme,” which is what one can hear on the CD recording. In
the current study, the insight into the compositional strategy chosen
by Stockhausen was been compared with auditory image, that is, with
the perceived musical surface. Stockhausen’s musical work is
analyzed both in terms of melodic/voice and timbre evolution.
Implications: The current study shows how musical structures
have determined of musical surface. The general assumption is this,
that while listening to music we can extract basic kinds of musical
information from musical surfaces. It is shown that interactive
strategies of musical structure analysis can offer a very fruitful way
of looking directly into certain structural features of music.