Percuţia, între sacru şi profan, în muzica secolului XX:
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| Main Author: | |
|---|---|
| Format: | Book |
| Language: | Romanian |
| Published: |
Bucureşti
Ed. Univ. Naţionale de Muzică
2006
|
| Subjects: | |
| Online Access: | Inhaltsverzeichnis Abstract |
| Item Description: | Zsfassung in engl. Sprache |
| Physical Description: | 112 S. Ill., graph. Darst., Notenbeisp. |
| ISBN: | 9737857496 9789737857491 |
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Record in the Search Index
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|---|---|
| adam_text |
CUPRINS
PROLEGOMENE
.
pag.
7
CAPITOLUL
I.
1.
Notaţii în literatura pentru percuţie a compozitorilor
români din ultima jumătate a secolului
XX
.
pag.
17
2.
Tri
Son
-
Octavian
Nemescu
.
pag.
42
3.
Noesis
-
Doina Rotaru
.
pag.
46
4.
Ipostaze
IV
-
Adrian Iorgulescu
.
pag.
52
CAPITOLUL
П.
Vibrafonul în muzica secolului
XX
.
pag.
60
L'abîme de
Pascal
-
Liviu Dănceanu
.
pag.
68
CAPITOLUL III.
Ionisations
-
Edgar Várese
.
pag.
79
SINTEZE
.
pag.
87
Rezumat
.
pag.
102
NOTE
.
pag.
106
BIBLIOGRAFIE
.
pag.
111
Resumé
In the big family of the percussion instruments, each instrument has
its own history, its own path through the music history. Each instrument
has its own way of expression, own communication pattern and its own
destiny. What brings them together? Beyond the vibration effect of a
material
-
wood, skin, metal, stone, plastic, glass
-
by striking, the
percussion instruments are like a bridge in means of musical language, a
bridge that connects two separated points
-
the sacred rhythms/the
primordial sounds (rituals) and the profane music, showing even
disrespect or contempt for the sacred things, unbalancing the harmony
between human and divine.
It thing that it's necessary to define these two terms
-
sacred and
profane
-
barriers between I must express my relationship with the
percussion instruments, from the interpreter but as well as from the
teacher's point of view; the connection with the percussion literature, with
the authors and with the instruments that
і
make.
When I talk about the sacred character of the music of the 20lh
century I relate either to the religious character of some compositions,
either that character of the sacred works that inspire acts of showing
veneration regarding instruments or interpretive ways. The sacred
character means the presence of the religious factor but it is not a way of
sending towards different beliefs and rituals. By sacred I understand the
presence of the divine feeling which can or cannot be found in the works of
some composers or performers of the 20ih century. The music that belongs
to this category of sacred are the ones considered ethics, conforming to the
moral religious standards.
The profane music does not involve religion; it doesn't represent a
religious but an aesthetic character.
The percussion instruments were an active factor in the primordial
sounds and rhythms
-
the primordial rituals in which the instruments were
empowered with magical powers that could control the general condition
of weather, drive evil spirits away and tame the misunderstood laws of
nature.
The percussion instruments are present in the African, Chinese,
Japanese, Indian musical culture as well as the European folkloric music. In
the orthodox rituals the only instruments that are accepted are the
102
percussion instruments
that have a very strong spiritual charge (bells,
wooden plates).
Beyond the geographic regions, musical cultures and languages,
these instruments serve the rhythm. The whole environment is organized in
time through rhythm. In every type of art the rhythm organizes the
structures and measures, periods, shapes and sizes.
Philosophers, scientist, poets, all have tried to give the rhythm a
definition
-
Aristotle found the rhythm as a general phenomenon, other
saw it as a phenomenon found in nature and it's very hard to define
musical rhythm. Musical rhythm is in a tight relationship with the physical
rhythm (of each composer and player) and with the psychic rhythm. On the
other hand the musical rhythm is controlled by the accents, sections and
time. The measure is the time that passes from the point when a sounds is
made until that sound disappears. Without this measure all the other
qualities of the sound cannot exist. While the measure of time has the role
of defining the rhythm, the intensity has the role of making it heard. The
accent is the one that generates rhythmical structures. The timbre is more
than just a characteristic quality of sounds, it can be the sound itself; when
we hear a sound we try to find it's origin (that is revealed only by the
timbre) and only after that we find the other qualities of the sound, while
the intensity and pitch are described by only one dimension the timbre is a
character of many dimensions given by the spectral composition, by the
number and the intensity of the harmonies.
For the percussionist, the notions of musical acoustics, from my
point of view, cannot be dispensed. By changing the type of mallet, hand
position, intensity and place of striking the instrument responds in
different ways and we can obtain different sounds.
The sound of a percussion instrument is generated by the vibrating
material such as:
wood
metal
skin
plastic
stone
by using different ways such as striking (with bare hands, mallets, fingers)
or friction. There are two types of instruments
-
the ones that use a
membrane and the ones that use the vibration of their own body and there
are three basic types of sounds:
103
1.
pure sounds
2.
complex sounds
3.
noise
The pure sound has only one shape of vibration, a single frequency
and can propagate through then environment easily (triangle)
The complex sound contains many simple sounds, their frequencies
building many of the most common sounds of voices and musical
instruments but also the environmental sounds (the buzz of the insects,
traffic sounds and alarms).
The noise is a mixture of sounds of any kind, sometimes it can be
pleasant other times unwanted and even irritating, annoying. The noise
often occurs in the company of the musical sounds.
Beyond the passion and the dedication with which the contemporary
percussionist serves these instruments, he must be able to read, translate
the coded messages and give the whole the correct (the meant) significance.
The literature of the 20th century that is written for the orchestral collective
imposes technical and interpretive levels. Otherwise, how could he
approach Maurice Ravel, Musorgski, Paul
Dukas,
George Enescu, Pascal
Bentoiu, Richard Strauss,
Alban
Berg,
Dimitri
Sostakovici or George
Gershwin?
The percussionist that performs in the contemporary orchestra must
approach the 20th century repertoire with great skills and be an exceptional
technician that controls all the instruments he plays. While the orchestra
percussionist deals with a relatively small number of instruments, the
matter of the chamber percussionist is totally different. Chamber music
puts every instrument in a soloist position and that's why the percussionist
must deal with a greater number of instruments then the one that plays in
an orchestra. From my own experience, as a percussionist in Archaeus (I
am a founding member since
1985),
group lead by the composer Liviu
Danceanu, we have played more than
200
works of the Romanian and
foreign composers of the 20th century and so I can evaluate the importance
of the timbre and the rhythmic sustainment of the composition.
Playing in a group of percussionists is maybe the most difficult but as
well the way to get the greatest satisfactions. As a founding member of the
first percussion assemble (the one led by Grigore Pop from
Cluj
-
104
"Gheorghe Dima"
Music Academy
-
since
1975)
and as the leading member
of GAME (National Music University from Bucharest) I had (and I still
have) the chance to observe the repertoire of the chamber assemble from
the inside
:
Tiberiu Olah
(Studiu de spaţiu si ritm),
Theo Lovendie
(Timbo),
Luis de Pablo (Storno"),
Ştefan Niculescu
(Incantations),
Edgar
Várese
(Ionisations),
Liviu
Danceanu
{Luxuria),
John Cage
&
Lou Harrison (Double
Music),
Doina
Rotara
(Noesis),
Minoru Miki
(Marimba Spiritual),
К.
Stockhausen (Zyklus).
The literature wouldn't be complete without the concerts
:
Paul
Crestón
brought the marimba in front of the orchestra as a leading instrument in
1940,
Darius Milhaud composed in
1923
a concert for battery and orchestra,
Andre Jolivet while he was searching simplicity gave the percussionist the
whole responsibility
(1958),
Liviu Danceanu in his
Marea Unire
(1988)
brought together the powers of the big groups of wood, skin and metal
instruments
(9),
Doina
Rotaru fell in love with the sounds of the percussion
instruments and wrote in
2003
Percussion Concerto
(10),
Iannis Xenakis
composes the concerto
Concertul pentru bariton, percuţie si orchestra
-
AIS
(11).
The percussionist, either as a member of an
essemble
or soloist, must
treat with great respect the sounds of the percussion instruments he serves.
The freedom he has in front of the work is great and must be treated as
great responsibility; he must chose his instruments and mallets, tempos, the
dynamic beach, the place of striking, the repertoire that represents his
ethnic level and the capacity of underlining the philosophy of the work, it's
significance, all at the hand of the percussionist.
The magical power of the percussion instruments makes the connection
with God in a world of signs of the present and ancient, a bridge between
sacred and profane.
105 |
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| title | Percuţia, între sacru şi profan, în muzica secolului XX |
| title_auth | Percuţia, între sacru şi profan, în muzica secolului XX |
| title_exact_search | Percuţia, între sacru şi profan, în muzica secolului XX |
| title_full | Percuţia, între sacru şi profan, în muzica secolului XX Alexandru Matei |
| title_fullStr | Percuţia, între sacru şi profan, în muzica secolului XX Alexandru Matei |
| title_full_unstemmed | Percuţia, între sacru şi profan, în muzica secolului XX Alexandru Matei |
| title_short | Percuţia, între sacru şi profan, în muzica secolului XX |
| title_sort | percutia intre sacru si profan in muzica secolului xx |
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