Tehnici sonore şi timbrele inovatoare în creaţia contemporană dedicată pianului:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Romanian |
| Veröffentlicht: |
Timişoara
Ed. Solness
2010
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache |
| Beschreibung: | 302 S. Ill., graph. Darst., Notenbeisp. |
| ISBN: | 9789737292407 |
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CUPRINS
Introducere
. 5
L
Expansiunea sonoră şi timbrală
. 9
1.
Efecte speciale pe claviatură
. 15
a) Imitaţii sonore
. 15
b)
Clusters, glissandi,
clape apăsate silenţios
. 30
c) Influenţe
non-
vestice
. 44
d) Alte efecte sonore şi timbrale
. 57
2.
Sunete produse în interiorul pianului şi pe alte suprafeţe ale sale
. 73
3.
Efecte prin pedalizare specială şi rezonanţă
. 91
4.
Sunete auxiliare
. 100
5.
Pianul preparat
. 106
6.
Microtonii
. 118
a) Instrumente
microtonale eu
claviatură
. 120
b) Compoziţii
microtonale
. 126
7.
Extensia sonoră a pianului prin mijloace electronice
. 130
a) Sisteme electronice
. 131
b) Instrumente electroacustice cu claviatură
. 145
II.
Probleme de notaţie şi aplicare practică în muzica recentă
. 157
1.
Notaţia muzicală modernă.
. 157
a) Convenţii generale
. 158
b) Efecte speciale pe claviatură
., 163
c) Efecte speciale în interiorul pianului
. 168
d) Pedale
. 176
e) Prepararea pianului
. 179
f) Notaţia proporţională (spaţială)
. 179
g) Indeterminanţa
. 187
h) Notaţia grafică, grafismul conceptualist
. 198
i) Partitura text/poezie,
Event Scores
şi alte notaţii
. 215
2.
Simplificare şi complexitate
. 221
III. Aspecte noi în tehnica pianistică şi în relaţia compozitor-
interpret-auditoriu
. 227
1.
Tehnica extinsă a pianului contemporan
. 227
2.
Fantezie şi comunicare
. 247
a) Compozitorul
. 248
b) Interpretul
. 260
c) Auditoriul
. 266
încheiere
. 275
Abstract
. 278
Bibliografie
. 285
Surse internet
. 287
Anexe
. 291
Abstract
Timbre
and innovative sound effects have become more and more
important elements in music creation since Debussy, and especially during the
twentieth century this trend grew even more. Composers' attention was focused
mainly on the techniques of composition more than ever in the post-World War
II period until approximately the early
1960s.
The evolution and the way of
approaching sound and timbre innovations in contemporary composition for
piano are the main matters presented and analyzed in this paper. Also other
issues directly related to the new processes of music creation are mentioned
which are unavoidable consequences of them. In the first place, there is a
special notation required for a modern piece, as the conventional one has been
outdated and inadequate, and then the extended piano technique that has
become indispensable to any performer of recent music. Besides, the use of
special effects generated some outstanding issues regarding preparation and
reading the scores and the new relationships among composer, performer and
audience.
The three main chapters each discussing a specific matter, are
meticulously organized in subchapters and well-defined categories. There are
also approximately
250
musical examples which support the present study. The
first chapter entitled
/.
Sound and timbre expansion, which is the most extended
one of the paper, presents the innovations related to color and sound
encountered in musical creations dedicated to the piano from the early years of
the twentieth century to the present. Unfortunately, the bibliographical material
and scores available for this purpose were quite limited and difficult to obtain.
The above chapter starts with a statement about the increased importance
of timbre in composition from a musical and historical point of view and the
inclinations of the last century's composers to discover new sources of sound.
Thus, at a certain point all instruments are seen in a new light and their capacity
of producing new effects is explored in all ways. The piano of the contemporary
creation is no longer the limited instrument to a conventional idea of keyboard
action, but it is seen in a total configuration as a source of producing sounds.
The following subchapters present aspects of the innovative techniques
developed in the composition of contemporary music, classified into categories
according to their characteristics.
The first group named
1).
Special effects on the keyboard, exemplifies
and analyzes innovative sonorities obtained on the keyboard of the piano that
enrich the traditional playing and transform the instrument into a precious
source of new timbres. It contains the next four categories:
a) Sound imitations
b) Clusters, glissandi, silent pressed keys
c) Non-western influences
d) Other sound and timbre effects
278
During the twentieth century, the process of imitating other instruments or
different sounds from nature or our daily life on the piano is intensifying, but
the idea is not new. The creations of composers from
Bartók
to Gershwin or
from Enescu to Ginastera are full of sound influences from national music, not
only folk melodies, but also characteristic timbres, effects and sonorities on the
piano, similar to those produced by traditional instruments. For Debussy,
Messiaen and others, the environment and nature itself represents an important
source in the process of creation suggesting pictures, colors and landscapes that
the composer imagines in his music. Besides the effects that remind of other
instruments or nature and environment sounds, imitations of more recent
sonorities coming from the electronic world are found especially in
Stockhàusen's
works.
The clusters introduced in the piano music by Co well, provide an
extended color used in several forms: arpegiatto, rolled,
glissando,
short and
spiky or long with pedal role and so on. The silent pressed keys produce a
special effect of resonance that enhances the piano timbre, while the released
strings vibrate when other notes are played on different keys at the same time.
These techniques are commonly used by Cowell,
Várese,
Albright, Stroe,
Xenakis,
Stockhausen,
Crumb and others.
Non-western influences coming from outside European music, such as
characteristic sounds of traditional instruments or conceptions converted by the
means of compositional technique, are frequently used in the desire to achieve
new and unusual timbres like exotic, Asiatic or African ones. Specific
sonorities that suggest connections with extra-European traditions can be found
in works written by Cage,
Boulez,
Messiaen, Akira Miyoshi, some minimalists
such as La Monte Young and others. The inspiration comes from Asian
philosophical tradition and principles (Indian, Japanese, Chinese, etc.) as well
as from rhythms, scales or timbres that characterize the traditional music of
Asia or Africa (Chinese, Japanese, Indian,
Balinese,
Indonesian, etc.).
Other special effects on the piano keyboard can be obtained by using
some unusual scales, polyphony, polyrhythmic and polymetric formulae,
violent or subtle textures, special treatment of rhythm and tempo, alternation
between sonorities and silence, intensities, register and even spatial relation
when two or more pianos or electronic means of sound amplification and
speakers are involved.
The coloristic palette of the instrument is extended by playing on the
strings, on the piano lid or any other wooden or metallic surface of the piano.
These techniques are analyzed in section
2).
Sounds produced inside of the
piano and other surfaces. The piano strings can vibrate in many different ways.
They can be plucked (with nails, fingers, additional objects), stroked (with
fingers, palms, percussion beaters or other objects), scraped, strummed or can
be muted changing sonority when hammers strike them. They can also be
played
glissando
or tremolo, or they can be played with various bows producing
long and sustained sounds. The lid, the sides, the frame, the resonance box,
279
represent
other
piano
areas or surfaces that can produce percussion sounds by
beating, knocking, striking them with hands or other objects. The first
experiments inside the piano were carried out by H. Cowell, and after that more
and more composers explored the playing on the strings technique: J. Cage, G.
Crumb, O. Nemescu, D. Nemteanu-Rotaru, H.
Rădulescu,
С.
Curtis-Smith,
D.
Cope.
The timbre transformations resulted from the use of the three pedals of
the piano are described in section
3).
Special effects of pedals and resonance,
each of them changing the sound colour in a different way. One of the most
frequent uses is the resonance or vibration by sympathy which enriches the
sonority with harmonics. Some composers like
Stockhausen,
Boulez,
Berio, in
order to obtain the desired effect are very accurate in their notation of the exact
timing of action and release of the pedals.
hi the contemporary composition, the piano sound can be accompanied by
noises produced outside of the instrument in the musical process, or
incorporated in the basic sound structure of the piece. Some authors insert
theatrical activities in their works, mixing the aural with the visual, which
involve the emerging of external noise sources not produced by the piano but
derived from the activities that take place during the execution of the piece. All
these kinds of sounds and noises, from those in the existent environment to the
performer's whistles or hand claps, are presented under the title
4).
Auxiliary
sounds, the section that contains examples of both the determined and well
indicated sounds by the composer and the indeterminate ones.
The next section
5).
Prepared piano contains references about the
possibilities of altering the instrument's sonorities by inserting various objects
between or over the strings. The musician that is most known for frequent use
of prepared piano timbre in his works is J. Cage, but the idea appeared earlier
and since then a number of other composers have shown their interest in
altering the timbre by preparation.
Another source of special color is the
microtonal
music that provides
quite unusual sounds differing from the experience offered by the creations
conceived under the common denominator of the octave divided into twelve
equal semitones. Section
6.) Microtones,
analyzes the idea of evading from the
equal temperate system and presents
microtonal
keyboard instruments and
timbres generated by the composers concerned about these sonorities in their
pieces, like Ch. Ives, B. Johnson or I. Wyschnegradsky.
The last section of this chapter,
7).
Sound extension of piano by electronic
means, includes the two distinct categories where electronic means are used: the
first one describes the so-called "electronic systems" that contain electronic
devices which alter, amplify or just accompany the piano sound; the second
describes the electronic keyboard instruments, from the electric piano to
synthesizer and computer that incorporate piano sounds. Among the composers
of electro-acoustic music with piano are J. Cage,
L. Nono, K.
Stockhausen,
Α.
Μ.
Avram,
P.
Urmuzescu,
D.
Voiculescu, O. Nemescu
and many others.
280
The second chapter, II. Notational matters and practical application in
recent music, presents the new adjustments and originality of the scores, as well
as some special issues that arise in the direction of communication and its
interpretation.
The subchapter I). Modern musical notation, exemplifies the signs and
procedures used in contemporary notation that can be found in piano pieces
scores. They were discussed at the International Conference on New Musical
Notation that took place in Ghent
-
Belgium in
1974
and for most of them a
standardized scoring system was established.
Detailed methods of notations are grouped into the following categories:
a) General conventions, contains some guidelines for notation of
approximate height, rhythm, duration, tempo and dynamics
b) Special effects on the keyboard, specifies the symbols and signs to
indicate clusters and glissandos, their modes of attack and silent depression of
keys
c) Special effects inside the piano, indicates the notations for harmonics,
muted strings, pizzicato,
glissando,
tremolo, cluster, strumming, sweeping,
striking the strings, etc.
d) Pedals, covers the notations for extended techniques (gradual pedal
actions, half pedal, catching reverberation after the key release, distinct
sostenuto
sounds maintained with the middle pedal, effects of resonance and
noise)
e) Prepared piano, contains guidance on notation possibilities of the
altered sounds in the score
f) Proportional notation, refers to the types of musical scores in which the
playing time is indicated through horizontal spacing with or without symbolic
durational notation. Also bar measures are suppressed
g) Indeterminacy, exemplifies several scores of piano pieces involving
various degrees of indeterminate events, open forms, mobile structures and
improvising or
aleatorie
passages
h) Graphic notation, conceptual graphism, covers issues concerning the
graphic symbols, the pictograms and basic graphic scores, as well as their
unique character due to the fact that they cannot be standardized
i) Text/poetry scores, Event Scores and other notations, treats those types
of notations that remind too little of music, representing rather guidance texts
for actions or suggestions, pictures and diagrams that can inspire or invoke a
particular atmosphere
The second subchapter
2).
Simplicity and complexity, discusses certain
issues that arise from the emergence of modern notation, for example, a score
can present reduced configuration but at the same time a polyvalent content.
The composer creates musical ideas and the structure in which they fall, and
then
notâtes
them through a code represented by (musical) symbols. The
performer in turn decodes the cryptography in order to reproduce the structure
provided in the message. Sometimes the encoding intentionally contains a
281
degree of polysemy and then the performer chooses one or another meaning of
these symbols, but in other cases the cryptography is so complex that may
exceed the decoding capacities of the interpreter. Similar problems can also be
found in traditional notation, but the situation becomes further complicated
when the very severe encoding becomes a real cryptogram, as this happens in
many forms of modern notation especially in the graphic one.
The final chapter
///.
New aspects in piano technique and composer-
performer-audience relationship, presents particular states created by the use of
novel ways of artistic expression in contemporary piano music. Besides the
already mentioned need for a special notation, an extended instrumental
technique has been developed, required by the new sound effects present in the
recent works. However, radical changes occur in the communication between
the transmitter and receiver and their relation presents different aspects
compared to the earlier, changes that increase especially during the American
indeterrninism, improvisatory tendencies and graphism.
The first subchapter
1).
Extended contemporary piano technique refers to
changes that occur in the piano performance due to a renewal of compositional
techniques. Recent music is more demanding than before challenging the
performer to a multilateral training and creative spirit, in addition to a greatly
increased responsibility for the completion of the piece. The pianist must not
only improve his dexterity, but many other qualities as initiative, intelligence,
experience, promptitude, taste and sensitivity, all of which are necessary to
make decisions for actions in collaboration with the composer whose initiative
is marked on the score.
Indeterminate or improvisational pieces require creative abilities from the
pianist, putting him in a position to use all his imagination or to make firm and
quick decisions for the completion of the musical discourse. On the other hand,
some determinate works bring unforeseen difficulties related to technique or
virtuosity, containing passages which need the greatest control, precision,
speed, presence of mind and so on. In addition, extended techniques demand
special skills, beginning with playing on the keyboard and using the pedals (e.g.
tremolo or
glissando
clusters, or catching the resonance after releasing the
keys). The more so, playing inside the piano can give enough trouble,
írom
the
identification of the string or the harmonic points to the ability of using various
adjutant objects to vibrate them as percussion sticks, bows, guitar plectra, etc.
The second subchapter
2).
Fantasy and communication deals with
existing problems of dependence and interdependence in the musicians' world,
both those related to the necessary link with specialists executing services for
the artistic need and those involving certain changes more recently experienced
in the relationship among composer, performer and audience.
A musical piece comes to life only after passing three stages, from the
composition to interpretation and then to the reception, an audition involving
the presence of someone who listens to the work. In the contemporary music,
the relation between "transmitter-carrier-receiver" is not the same as in the past,
282
in some cases there are interferences such as scores in which the performer is
required to participate in the creative process or to listen to other interpreters. In
other cases, either there are breaks such as those where the composer is not
interested to communicate anything through his piece or the piece itself is
exclusively addressed to a specialized audience with a superior musical
training.
For a better debate of these issues, after a general overview, there follows
the distinct analysis of each of these interdependent "links" that form the
process of contemporary musical art, in the next sections:
a) The composer
b) The performer
c) The audience
In the twentieth century series of metamorphoses in compositional
thinking with different stages and trends has been observed and the
development of new techniques has become a sweeping requirement for most of
art creators, especially in the period after the Second World War. New music
cannot be independent and separated from contemporary life, which is
characterized by fragmentation, alienation, fast changing, ephemeral,
individualization, diversity, entering the musical creation and reflecting this
general state.
Looking through history, music has gradually changed from simplicity to
complexity, density, multiplicity. One of the twentieth century phenomenon is
the constructivism which' at a certain time, gains amplitude and invade the
creative thinking at expense of artistic expression. Recent music often seems to
be a purely logical process of a sensitive material, which communicates solely
to the intellect, so that an uninformed listener finds himself in a need of
explanation. Obviously, the music creation based exclusively on logics is
nothing more than a dry substance, a scheme based on numbers, mathematical
methods or other calculations that can be made by anyone without the need for
talent. On the other hand, talent, passion or instinct alone, cannot lead to the
foundation of a solid and valuable musical construction, but it takes a serious
level of knowledge and reason for a successful creative process.
The performer, in our case the pianist, is the one that transforms the
composer's message in sound reality. Music does not exist in the score; there is
only a code that becomes music only when it is played. In this interactive series,
the performer is not only an intermediary who gives life to the work of the
composer, but also his collaborator since the process of interpretation involves
creativity as well.
The music evolution towards a more increasing complexity, definitely
leads to similarities in the performance field. Given the diversity in the
contemporary composition, the performers have to deal with an extremely wide
range of works some of which require special knowledge first to be able to read
the score and then to perform it. There is a strange balance between musicality
and technique. Some works are designed in such a logical and abstract frame
283
that a very good agility on behalf of the pianist is enough for their performance
because there is no expression to communicate. On the other hand, there are
many works where not only musicality is an absolute necessity, but their
performance demands great intelligence, quick mind and plenty of imagination.
The bounds between compositional and interpretative art in new music is quite
flexible as the actions of a performer are often part of the creative process.
The audience is the third link connecting the relations generated by the
existence of a musical creation and, if it cannot influence the performance of a
piece, it may have other influences on the artistic process. The listener, who
listens to such sophisticated works written rather for fellow specialists than him,
gets confused. However, he may be impressed by the unusual sound effects
produced in an unconventional way on the keyboard or inside the piano in the
end. This divergence between contemporary composers and the audience is an
irreversible process of the evolution in the artistic thought. The real new music
is that one which reflects the consequences of the sound revolution of the last
years and it is so characterized unintelligible and difficult. One interesting state
and paradox is the fact that the audience is more willing to hear sonorities that
embody the temperament and sensibilities of past ages than those that express
the pulse of their contemporary world. This pulse so graphically and intensely
expressed by
Stockhausen,
Boulez
or Crumb, often produces refractory
reactions giving the impression that the sounds of our era are not acceptable. If
the listener can discern a structure and a specific message of this music, then
automatically notifies its intelligibility, but mainly recognizes himself as the
representative of his own age, and that image is indubitably reflected in
contemporary composition. Today's listeners are becoming more and more
attached to the means offered by technology, with digital audio recordings and
surround-sound involving an ever-greater clarity and sensation of realism in
listening to music. In addition to those, there is the visual part with DVD, wide
sized monitors as well as special speakers of home cinema system with spatial
Dolby-surround effect, which contributes to some change in the habits of the
audience.
The last lines provide an overall conclusion on the development of
compositional techniques of contemporary creation and the importance of the
sound color which becomes the essential element. Through the sound and
timbre innovations the concept about piano is extended from a simple keyboard
instrument to a complex musical object with countless colorful possibilities.
284 |
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| genre | (DE-588)4006804-3 Biografie gnd-content |
| genre_facet | Biografie |
| id | DE-604.BV041086855 |
| illustrated | Illustrated |
| indexdate | 2024-10-06T14:00:58Z |
| institution | BVB |
| isbn | 9789737292407 |
| language | Romanian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-026063529 |
| oclc_num | 859370667 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 302 S. Ill., graph. Darst., Notenbeisp. |
| publishDate | 2010 |
| publishDateSearch | 2010 |
| publishDateSort | 2010 |
| publisher | Ed. Solness |
| record_format | marc |
| spelling | Ioannou, Luana Gilda 1963- Verfasser (DE-588)1031348689 aut Tehnici sonore şi timbrele inovatoare în creaţia contemporană dedicată pianului Luana Gilda Ioannou Timişoara Ed. Solness 2010 302 S. Ill., graph. Darst., Notenbeisp. txt rdacontent n rdamedia nc rdacarrier Zsfassung in engl. Sprache Ioannou, Luana Gilda 1963- (DE-588)1031348689 gnd rswk-swf Geschichte gnd rswk-swf Musik (DE-588)4040802-4 gnd rswk-swf Klavier (DE-588)4030982-4 gnd rswk-swf Klang (DE-588)4030933-2 gnd rswk-swf Komposition Musik (DE-588)4133320-2 gnd rswk-swf Notenschrift (DE-588)4135339-0 gnd rswk-swf (DE-588)4006804-3 Biografie gnd-content Ioannou, Luana Gilda 1963- (DE-588)1031348689 p DE-604 Musik (DE-588)4040802-4 s Klang (DE-588)4030933-2 s Klavier (DE-588)4030982-4 s Geschichte z Komposition Musik (DE-588)4133320-2 s Notenschrift (DE-588)4135339-0 s Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026063529&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026063529&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Ioannou, Luana Gilda 1963- Tehnici sonore şi timbrele inovatoare în creaţia contemporană dedicată pianului Ioannou, Luana Gilda 1963- (DE-588)1031348689 gnd Musik (DE-588)4040802-4 gnd Klavier (DE-588)4030982-4 gnd Klang (DE-588)4030933-2 gnd Komposition Musik (DE-588)4133320-2 gnd Notenschrift (DE-588)4135339-0 gnd |
| subject_GND | (DE-588)1031348689 (DE-588)4040802-4 (DE-588)4030982-4 (DE-588)4030933-2 (DE-588)4133320-2 (DE-588)4135339-0 (DE-588)4006804-3 |
| title | Tehnici sonore şi timbrele inovatoare în creaţia contemporană dedicată pianului |
| title_auth | Tehnici sonore şi timbrele inovatoare în creaţia contemporană dedicată pianului |
| title_exact_search | Tehnici sonore şi timbrele inovatoare în creaţia contemporană dedicată pianului |
| title_full | Tehnici sonore şi timbrele inovatoare în creaţia contemporană dedicată pianului Luana Gilda Ioannou |
| title_fullStr | Tehnici sonore şi timbrele inovatoare în creaţia contemporană dedicată pianului Luana Gilda Ioannou |
| title_full_unstemmed | Tehnici sonore şi timbrele inovatoare în creaţia contemporană dedicată pianului Luana Gilda Ioannou |
| title_short | Tehnici sonore şi timbrele inovatoare în creaţia contemporană dedicată pianului |
| title_sort | tehnici sonore si timbrele inovatoare in creatia contemporana dedicata pianului |
| topic | Ioannou, Luana Gilda 1963- (DE-588)1031348689 gnd Musik (DE-588)4040802-4 gnd Klavier (DE-588)4030982-4 gnd Klang (DE-588)4030933-2 gnd Komposition Musik (DE-588)4133320-2 gnd Notenschrift (DE-588)4135339-0 gnd |
| topic_facet | Ioannou, Luana Gilda 1963- Musik Klavier Klang Komposition Musik Notenschrift Biografie |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026063529&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=026063529&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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