The Electronic Music of Serena Tamburini: an Interview with the Author.
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Augusto Novaro's book, Sistema natural de la música, can be considered one of the most important synthesis for understanding the research of acoustic and musical theory, of microtonal tuning systems and of the rectification of the well... more
Augusto Novaro's book, Sistema natural de la música, can be considered one of the most important synthesis for understanding the research of acoustic and musical theory, of microtonal tuning systems and of the rectification of the well tempered system. Novaro's experiments led him to make diverse instruments with the purpose of applying his theories, but also to write several papers in which he sought to explain the basis of his speculations. His theoretical labor did not result in musical compositions, but was limited to conferences and private concerts. Modern new instruments and technological resources finally outmoded his research methods. Not-withstanding, we can now situate him as a true pioneer of "just intonation" and as one of the researchers that delved into the tuning problems of the well tempered system.
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Pubblicato nel programma di sala per "Die Entffihrung aus dem Serail" di W. A. Mozart
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In 1932 the Polish-Jewish theorist and organist Joseph Yasser (1893-1981) published in New York A Theory of Evolving Tonality, in which he described a 19-tone equal temperament. He predicted the use of this microtonal system in Western... more
In 1932 the Polish-Jewish theorist and organist Joseph Yasser (1893-1981) published in New York A Theory of Evolving Tonality, in which he described a 19-tone equal temperament. He predicted the use of this microtonal system in Western music as a future development of the 12-tone equal temperament. The nucleus of Yasser's book is the reconstruction of an historical process – the evolving tonality – that leeds from the pentatonic system (infra-diatonic, 5 tones per octave) to the diatonic (7 tones per octave) till the chromatic (supra-diatonic, 12 tones per octave). In the music of his contemporaries, like Skrjabin, Debussy and Schoenberg, Yasser recognizes the affirmation of the chromatic scale as a system of 12 indipendent tones. The next step will be the introduction of 7 new auxiliaries tones, that will create a new microchromatic scale (supra-diatonic scale, 12 + 7 tones per octave). The indirect influence on Yasser's theory of microtonal experiments in New York during the 1920s is supposed. Furthermore, in this essay other 19-tone equal temperament experiences are put in relashionship with the evolving tonality.
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A step-by-step musical analysis of Astor Piazzolla's Opera, "María de Buenos Aires" (1968).
AB II by Mark André is the second version of the previously composed AB I, for whose construction such computer-controlled methods of analysis and recomposition had already been employed, and which were later used for deconstructing and... more
AB II by Mark André is the second version of the previously composed AB I, for whose construction such computer-controlled methods of analysis and recomposition had already been employed, and which were later used for deconstructing and fragmenting strategies of the live electronics. This essay attempts an introduction to Mark André's compositiona thinking, which is profoundly influenced by epìstemological questions and great doubts concerning the traditional compositional models. Among these traditional models, André includes the acoustic-spectral, the experimental and the parametrical ones.
The architecture of the André's approach - construction and deconstruction. Fragmentation and defragmentation, analysis and recombination, endo-causality and exo-causality make up the pairs of conceptual opposites - is esemplified by a work that starts from the two notes A and B-flat, the lowest keys on the piano and the first two in musical notation.
This is a work that does not deny its roots in the music of Stockhausen, Xenakis, the French spectralism, and Lachenmann, yet one that reveals characteristic, highly independent sound language that is oriented toward individual solutions.
The architecture of the André's approach - construction and deconstruction. Fragmentation and defragmentation, analysis and recombination, endo-causality and exo-causality make up the pairs of conceptual opposites - is esemplified by a work that starts from the two notes A and B-flat, the lowest keys on the piano and the first two in musical notation.
This is a work that does not deny its roots in the music of Stockhausen, Xenakis, the French spectralism, and Lachenmann, yet one that reveals characteristic, highly independent sound language that is oriented toward individual solutions.
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Italian translation, originally published in German
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Il volo dell'artista è una parte della cornice, dicasi lo stesso per la temuta superficie sassosa in basso...
Dopo la Rivoluzione del 1910, a partire dagli anni Venti il governo messicano promosse una vasta campagna per promuovere il nazionalismo artistico, con l'esplicita intenzione di discostarsi dal modello imposto dal dittatore Porfìrio Díaz.... more
Dopo la Rivoluzione del 1910, a partire dagli anni Venti il governo messicano promosse una vasta campagna per promuovere il nazionalismo artistico, con l'esplicita intenzione di discostarsi dal modello imposto dal dittatore Porfìrio Díaz. I più notevoli risultati della nuova politica di governo sono rappresentati dal muralismo di Diego Rivera, José Clemente Orozco e David Alfaro Siqueiros. Neanche la musica viene trascurata, con la nascita del cosiddetto «Rinascimento azteco» di Carlos Chávez (1899-1978), Silvestre Revueltas (1899-1940) e altri. In Chávez - vicino al modernismo statunitense di Copland e altri - potere culturale e potere politico coincidono. i numerosi ruoli istituzionali assunti dal compositore finirono per condizionare anche gli esiti artistici generali, con prevalenza di un discreto livello medio, ma anche con l'emarginazione di figure importanti. Questa egemonia permise però anche una rapida modernizzazione dell'ambiente musicale.
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The Poly-work Medusa by Claus-Steffen Mahnkopf: my analysis and interaction with the German Maestro.
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The main principles Julián Carrillo employed in his microtonal musical theory differed at various moments during the Mexican composer's long career. In the first concert performance of the Sonido 13, in 1925, Carrillo had to demonstrate... more
The main principles Julián Carrillo employed in his microtonal musical theory differed at various moments during the Mexican composer's long career. In the first concert performance of the Sonido 13, in 1925, Carrillo had to demonstrate various aspects: that it was possible to write microtonal music and that it was also possible to perform it adequately. He thus insisted that the new resources provided by his musical innovation would generate works agreeable to the public, and that they would be works more intensive in nature than traditional ones without falling short in terms of expressiveness and comprehension. This article analyzes two of the pieces among those premiered in 1925, the Preludio a Colón (Prelude to Columbus) and Tepepan. It also attempts to reconstruct, as far as is possible, their compositional process by consulting the original manuscripts. Finally, a third piece of Sonido 13, Horizontes (Horizons), dating from 1952, is included in the analysis, in order to investigate the use of microtones in a broader context of this longer work, and to offer a comparison of the three compositions.
Un moderno caso di impostura. Tranelli in cui cade l'ascoltatore che poco studia la storia musicale degli ultimi due secoli.
Una explicación introductoria de la teoría musical del Sonido 13 de Julián Carrillo
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Techniques of analysis for Edgard Varèse's compositions