Statistical Form amongst the <scp>D</scp>armstadt School

Iverson, Jennifer

doi:10.1111/musa.12037

Cited by 7 publications

(1 citation statement)

References 42 publications

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“…Cabe notar que la reestructuración de la dimensión del tiempo descrita anteriormente, así como los contrastes de textura/percepción, tienen vínculo con el concepto de statistischen form (Iverson 2014) que tuvo tanta influencia sobre los compositores europeos en la década de los cincuenta 47 , también relacionada con la eventual adopción de procesos aleatorios y estructuras abiertas. Así mismo cabe notar que estas exploraciones de timbres y espacio acústico se realizaron en paralelo con las que ocurrieron durante este mismo periodo en el estudio WDR (Westdeutscher Rundfunk) en Cologne (Iverson 2016).…”

Section: La Textura De Flautas Y Arpa Que Invoca Boulez En Particular Enunclassified

Pierre Boulez, Latin America, and the European Avant-Garde After 1950

Losada¹

2021

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Recognized as a critic, composer, teacher, conductor and impresario, Pierre Boulez left a huge footprint that defined the trajectory of European concert music during the second half of the twentieth century. With the composition of Le Marteau sans maître (1953–1955) and several subsequent works from the mid-1950s and early 1960s, he established himself as one of the most important composers in his artistic circle. His compositional approach changed radically during the course of this time period. Although many of his pitch organization techniques were only unraveled several decades later, innovations with respect to other parameters of the musical language had a clear and immediate impact. Keeping this in mind, with this intentionally provocative title, I would like to discuss how Latin America played a decisive role in the career of this enormous figure of twentieth-century music. After presenting a brief summary of his professional trajectory, I will discuss the three tours he made of Latin America at the beginning of the 1950s, which, considered within the frame of his interest in ethnomusicology, were crucial to his career. They gave him the space and inspiration for crucial innovations in his development as a composer. By reference to Boulez’s writings, and based on a critical reading of the works that reflect the influence of Latin American music, I will discuss how some of the most important changes in his musical language, like his emphasis on elements of contrast and resonance, were inspired by his experiences on this tour, as much, or more, than by more recognized influences, like Japanese and African music. This has some considerable implications, given that Boulez’s new musical language had tremendous impact on the development of the European avant-garde in the second half of the twentieth century. Haciendo referencia a los escritos del compositor y tomando como base una lectura crítica de las obras que reflejan la influencia que recibió de la música latinoamericana, discutiré cómo algunos de los cambios más importantes en su lenguaje musical fueron inspirados por las experiencias de Boulez en sus giras en esta región, tanto o más que por influencias más reconocidas, como la música japonesa y la música africana. Esto tiene implicaciones importantes, dado a que el nuevo lenguaje musical de Boulez tuvo un impacto considerable en el desarrollo de la vanguardia europea después de la segunda guerra mundial.

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Section: La Textura De Flautas Y Arpa Que Invoca Boulez En Particular Enunclassified

Pierre Boulez, Latin America, and the European Avant-Garde After 1950

Losada¹

2021

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Learning the Studio: Sketches for Mid-Century Electronic Music

Iverson

2017

Contemporary Music Review

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Hearing the Music of Others: Pierre Schaeffer’s Humanist Interdiscipline

Valiquet¹

2017

Music and Letters

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Traité des objets musicaux (Treatise on musical objets) represents the culmination of Pierre Schaeffer's thinking on the nature of music and sound. Building upon more than a quarter century of broadcasting and compositional research, Schaeffer's book saw immediate adoption as a research guide by the composers and technicians of the Groupe de Recherches Musicales (GRM), the experimental broadcasting unit Schaeffer founded in 1958. It has since taken on a reputation as one of the canonical texts of the academic electroacoustic tradition as a whole. Now, a half century after its original publication, Schaeffer's finely wrought metalanguage for the relationship between human listening and musical sound is finally beginning to appear in English translation. 2 The lack of translation until now, however, has not hampered the growth of a robust and independent anglophone tradition of Schaeffer scholarship. There is a particularly strong current of critical writing building upon Schaeffer's thinking about the affordances of an 'acousmatic' approach to sound, that is, when sound is encountered in the absence of a visible source. 3 With few exceptions, however, the focus has been upon putting Schaeffer's ideas to compositional work rather than their implications for the descriptive study of music more broadly. Historians have similarly treated Schaeffer's theoretical work as a footnote to his endeavours as a composer and engineer. 4 And yet these studies frequently invite us to think of 1 Early versions of this article were presented at the 2015 Annual Conference of the Royal Music Association in Birmingham and the weekly research seminar organised by Benedict Taylor at the Reid School of Music, University of Edinburgh. I would like to express my gratitude for the generous feedback I received from John Dack, Kyle Devine, Brian Kane, Peter Nelson, and three anonymous reviewers. Thanks are due as well to Marcelle Deschênes, who provided invaluable primary sources from her private archive in Montreal.

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Statistical Form amongst the Darmstadt School

Cited by 7 publications

References 42 publications

Pierre Boulez, Latin America, and the European Avant-Garde After 1950

Pierre Boulez, Latin America, and the European Avant-Garde After 1950

Learning the Studio: Sketches for Mid-Century Electronic Music

Hearing the Music of Others: Pierre Schaeffer’s Humanist Interdiscipline

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