Prostranstvennaja muzyka: istorija, teorija, praktika
Gespeichert in:
| Format: | Buch |
|---|---|
| Sprache: | Russian |
| Veröffentlicht: |
Kazanʹ
Fėn
2004
|
| Schlagworte: | |
| Online-Zugang: | Abstract Inhaltsverzeichnis |
| Beschreibung: | In kyrill. Schr., russ. - Zsfassung in engl. Sprache u.d.T.: Spatial music |
| Beschreibung: | 158 S. Ill., graph. Darst. |
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Datensatz im Suchindex
| _version_ | 1804140741986877440 |
|---|---|
| adam_text | ОГЛАВЛЕНИЕ
Предисловие
..................................................... 3
Глава первая. У ИСТОКОВ ПРОСТРАНСТВЕННОЙ МУЗЫКИ
.. 5
1.
История и специфика пространственной музыки
................. 5
2.
Принципы технической реализации пространственной музыки
.... 23
Глававторая. ЭФФЕКТ ДВИЖУЩЕГОСЯ ЗВУКА:
МОДЕЛИРОВАНИЕ И ВОСПРИЯТИЕ
............. 40
3.
Физические принципы реализации пространственной музыки
..... 40
4.
Человеческий слух и локализация звука
......................... 43
5.
Психофизиологические аспекты локализации звуковых объектов
в сложной акустической ситуации
.............................. 49
6.
Нейрофизиологическая обработка звуковой информации
........... 53
7.
Основные технические характеристики систем
пространственной музыки
................................... 58
Глава третья. ТЕХНИЧЕСКАЯ РЕАЛИЗАЦИЯ
ПРОСТРАНСТВЕННОЙ МУЗЫКИ
.............. 67
8.
Основы построения установки пространственной музыки
......... 67
9.
Режим ручного управления установкой пространственной музыки
72
Пульт фотодатчиков
......................................... 74
Матрица фоторезисторов МФ-24
(75);
Формирователь адресов и
аналого-цифровой преобразователь
(80);
Передатчик сетевого
интерфейса
(84);
Блок управления световым манипулятором
(90);
Блок
питания
(91);
Конструкция пульта фотодатчиков и светового
манипулятора
(91);
Интерфейс локальной сети Манчестер-Н
(93)
Распределитель звуковых сигналов 2К12Н-Ц1
.................... 95
Приемник-декодер
(97);
Регулируемый усилитель
(102);
Контрольный
усилитель-индикатор
(106);
Блок предварительных усилителей
(107);
Блок
питания
(108).
10.
Автоматический режим работы установки УПМ-24-Ц1
............. 110
Разделительный фильтр
(111);
Интерфейсный блок
(114);
Запись
фонограммы пространственно-музыкальной композиции и меток
времени
(121);
Запись кодов команд управления в систему памяти
компьютера
(122);
Автоматический режим воспроизведения композиций
пространственной музыки
(124).
156
Приложения
..................................................... 126
Приложение
1............................................... 126
Приложение
2............................................... 132
Программа
формирования
меток времени
(132);
Программа
подготовки
и
записи
партитуры
управления
движением
звука
(134);
Программа
режима
автоматического воспроизведения композиций пространственной
музыки
(140).
Послесловие
..................................................... 148
Книжные издания НИИ Прометей
(1969 - 2004)...................... 149
Summary
........................................................ 151
Contents
......................................................... 154
SUMMARY
SPATIAL MUSIC :
HISTORY, THEORY AND PRACTICE
(by group of authors)
Spatial music (or its partial
synonim
instrumental theatre ) is a term refering
to the experiments with musical sounds moving in space. Initially these experimens
in their modern form had attracted attention at the beginning of XX century. Their
origin isiisually connected with aesthetic futurology of composer A.N.Scriabin.
Already in Prometheus the composer suggested to introduce the elements of theatre
into musical performance. Later on he meditated: Maybe the
orhestra
itself will take
part in a movements and processions... It should live in movement, as well as a
chorus should. It s nearly a dance . At the same time Scriabin dreamed of some
soundings from the heaven , i.e. of the forms of sound localization and moving,
which was impossible at that time.
Such aspect of music is studied now by a number of researchers. As it appears,
already the orchestra in Ancient Greece demonstrated multi-chorus performances
(with a separate groups of actors). In most obvious way this method was displayed in
baroque orchestra, which inherited it from antiphonal polyphony of
XVI
century and
from responsory principle of composition and performance, assumed in liturgy
service
(J.Gabrieli,
G.Schutz,
S.Scheidt, O.Banevoli and later on Bach and Handel).
The methods of spatial separations of performers, conditioned with the logic of stage
action, were used in musical theatre ( Don Giovanni by Mozart, then Prince Igor
by Borodin). The localization of instruments in symphonic music later on was used
more rarely ( Music in he Forest by Handel, Serenade by Mozart, Requiem by
Berlioz). In the
orchestre
of
XIX
century, unlike baroque epoch, the principle of
single chorus began to dominate (on our opinion, this corresponded to the transition
from from polyphonic writing to homophonic one, in the course of music
development).
At the beginning of XX century the interest to spatial music arosed again
-
together with the assimilation of new polyphony and evolution of symphony genre,
first of all in the works by G.Mahler and Ch.Ives. Later on the experiments in this
field were carried out by E.Satie (being the organic part of his sound wallpaper
project); A.Schoenberg (oratorio The Ladder of Jacob ); E.
Várese
(the piece
Integrals for percussion instruments). The new methods of theatralization and
spatial music were demanded by the music itself, for it has achieved the highest
level of expression and entered, in consequence, into the area of some external
gesture (inluding, by the way, its transition into visual effects). These were also an
organic feature of point , sonorous music, that use frozen structures, where
individual sounds play a role of self-depended characters . A.Dymshitz from
Leningrad had conducted interesting experiments in
1927,
trying to build the so-
called spatial metallophon , it s sounding elements being arranged all over the
151
concert hall
and were
contraled
remotely. Also
S.Eisenstein
had forced sound to
travel in his performance of Wolkiries
(1940).
Of course it was more suitable, from technical point of view, to realize all that
by means of electroacoustic tools, combined with a living orchestra as it was done in
the performances by
S.Eisenstein, A.Schoenberg,
K.Stockhausen, P.Boulez,
E.Varese. But the experiments on theatralization of the ingenious musical
composition never stopped, and this art school had been named as instrumental
theatre . I. Xenakis, in his Terretecktor , had arranged the orchestra members just
among the spectators. Among other foreign experiments it should be mentioned the
works by A. Dobrovolsky (Poland), L.
Verle
(Sweden), M.Kagel (Argentina). Among
the Russian musicians one may distinguish A.Schnitke (opera The Eleventh
Commandment ). As for instrumental and symphonical plays, the effect of moving
instruments were used in Antiphones by S.Slonimsky, Small Play by
B.Kutavichus. The greatest resounance was caused, in its time, by the Second
Symphony by A. Schnitke
(1972).
But, of course, more organic and natural way is the use of moving sound effect
in the process of electronic music perception, in its actual form of existence
-
the
reproduction by electroacoustic facilities. Strictly speaking, the usual concert music
always contains elements of theatralization, giving the food for eye. The listener used
to see what physical (visually perceived) process is responsible for that sound or
another. And even listening usual music by the record, one can imagine and see the
process of sound s birth (owing to the former synesthetic experience). Therefore in
this case the loud-speaker is not the primary source of sound, but a mere
reproductor.
The perception of electronic music is quite different. It s timbres differ from the
habitual ones, they are created regardless the performer s gesture, arising from the
deeps of black box . Here the loud-speaker appears as primary source of sounds, and
the listeners always noted the unnatural character of looking at the empty stage. That
is the true reason of eletronic music s natural attitude to the synthesis with visual
elements, which take the role of sounds source (cinema and slide projection,
pantomime, light-music). Just the electronic music has declared, most clearly, the
necessity of such aspect of performance as the movement of sound, allowing one to
create illusion of a certain spatial action (though invisible), that results in the
emergence of electronic sound. Just in this case, when new dynamic parameter
-
sound s position
-
is added to the habitual ones (intensity, pitch, timbre, duration)
-
the most optimal embodiment of spatial music becomes possible. Its high potentials
have been confirmed in the course of the following art events: the performance of
Electronic Poem by E.Varese in Phillips Pavillion at EXPO-58 (Brussels);
Polytop by I.Xenakis in Parisian Thermae and in France Pavillion at EXPO-67
(Montreal); The Garden of Sounds by K.Stockhausen in the underground grotto in
Beirut and in Germany Pavillion at EXPO-70 (Osaka); the spatial music concerts,
conducted by Prometheus design office at the State Exhibition of USSR in
1974.
In
the most events music was combined with visual effects and a specific concert halls
of closed shape were used. By the way, Scriabin dreamed of exactly such concert
152
halls
to play light-music in. The light-music studio in Kazan is equipped for spatial
music performances too.
Finally, in ideal case, the spatial music performer should be able to move
freely the sound s sources of certain instruments at any trajectory, either in the plane
or in the space of concert hall, according to the music theory rules. The spatial
trajectory would repeat and emphasize the melody line, thus revealing, first of all,
thematic development, closely connected with the instrumentation. (This method
could be applied to play usual music also, provided its parts (instruments, themes)
have been recorded separately). Of course, the perception and distinction of these
trajectories would not be so clear-cut as visual ones. But in case the sound s space is
used to
a fiul
extent, a certain effect cah be achieved. It is also possible to apply the
spatial music methods to light-music composition, keeping some specific rules. For
instance, the sound might move either together with a corresponing visual element, or
in opposite way. In the first case the illusion of sounding object movement is
created (this may be called, conventionally, as unison movement of sound and light).
While the second case may be called, conventionally, as polyphonic movement of
sound and light.
The book consists of three Chapters and Appendices. Historical and theoretical
background of spatial music issue is presented in detail in Chapter
1.
Chapter
2
deals with physiological basis of spatial sound and spatial music phenomena.
Chapter
3
describes concrete spatial music installation, that had been worked out
and manufactured by the Institute of Experimental Aesthetics Prometheus (Russia,
Kazan; e-mail: galeyev@prometey.kcn.ru; web-site: http://prometheus.kai.ru).
Bulat Galeyev
(Translated by Skorokhodov V.)
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| language | Russian |
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| spelling | Prostranstvennaja muzyka istorija, teorija, praktika Akademija Nauk Respubliki Tatarstan, Kazanskij Gosudarstvennyj Techničeskij Universitet Im. A. N. Tupoleva ... [Pod obšč. red. B. M. Galeeva ...] Kazanʹ Fėn 2004 158 S. Ill., graph. Darst. txt rdacontent n rdamedia nc rdacarrier In kyrill. Schr., russ. - Zsfassung in engl. Sprache u.d.T.: Spatial music Musik (DE-588)4040802-4 gnd rswk-swf Laut (DE-588)4166932-0 gnd rswk-swf Raum Motiv (DE-588)4225698-7 gnd rswk-swf Klang (DE-588)4030933-2 gnd rswk-swf Klangeffekt (DE-588)7661585-6 gnd rswk-swf Musik (DE-588)4040802-4 s Klang (DE-588)4030933-2 s Klangeffekt (DE-588)7661585-6 s Laut (DE-588)4166932-0 s Raum Motiv (DE-588)4225698-7 s DE-604 Galeev, Bulat Machmudovič 1940-2009 Sonstige (DE-588)143153528 oth Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=018656881&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Abstract Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=018656881&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
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| subject_GND | (DE-588)4040802-4 (DE-588)4166932-0 (DE-588)4225698-7 (DE-588)4030933-2 (DE-588)7661585-6 |
| title | Prostranstvennaja muzyka istorija, teorija, praktika |
| title_auth | Prostranstvennaja muzyka istorija, teorija, praktika |
| title_exact_search | Prostranstvennaja muzyka istorija, teorija, praktika |
| title_full | Prostranstvennaja muzyka istorija, teorija, praktika Akademija Nauk Respubliki Tatarstan, Kazanskij Gosudarstvennyj Techničeskij Universitet Im. A. N. Tupoleva ... [Pod obšč. red. B. M. Galeeva ...] |
| title_fullStr | Prostranstvennaja muzyka istorija, teorija, praktika Akademija Nauk Respubliki Tatarstan, Kazanskij Gosudarstvennyj Techničeskij Universitet Im. A. N. Tupoleva ... [Pod obšč. red. B. M. Galeeva ...] |
| title_full_unstemmed | Prostranstvennaja muzyka istorija, teorija, praktika Akademija Nauk Respubliki Tatarstan, Kazanskij Gosudarstvennyj Techničeskij Universitet Im. A. N. Tupoleva ... [Pod obšč. red. B. M. Galeeva ...] |
| title_short | Prostranstvennaja muzyka |
| title_sort | prostranstvennaja muzyka istorija teorija praktika |
| title_sub | istorija, teorija, praktika |
| topic | Musik (DE-588)4040802-4 gnd Laut (DE-588)4166932-0 gnd Raum Motiv (DE-588)4225698-7 gnd Klang (DE-588)4030933-2 gnd Klangeffekt (DE-588)7661585-6 gnd |
| topic_facet | Musik Laut Raum Motiv Klang Klangeffekt |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=018656881&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=018656881&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT galeevbulatmachmudovic prostranstvennajamuzykaistorijateorijapraktika |