Listening to Nothing in Particular: Boredom and Contemporary Experimental Music
"Listening to Nothing in Particular" examines contemporary boredom through the lens of recent experimental... more "Listening to Nothing in Particular" examines contemporary boredom through the lens of recent experimental composition. While boredom is typically treated in the arts as a conceit of transcendence or radical indifference, this essay argues that the mood in contemporary post- Cagean compositional practices articulate a much more ambivalent feeling of being unjustified, a feeling whose low-level intensity is largely indistinguishable from the spins and stalls of everyday life. Drawing on Sianne Ngai's notion of the "stuplime," a stilted and undecidable response to expressions of an infinitely iterated finitude, and evoking alternative ways of suffering the passion of waiting, "Listening to Nothing in Particular" focuses the scattered rays of boredom on a conflict between contemporary culture's shrunken curiosity and its imperatives for constant individual self-invention.
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Seen by:Mythologie in Musicis: La alegoría sonora en el Anubis-Nout de Gérard Grisey
Published in 'Revista Espacio Sonoro' 24 (2011)
http://espaciosonoro.tallersonoro.com/
The aim of this paper is to present an approach to the notion of the “sonic allegory” throughout French composer... more The aim of this paper is to present an approach to the notion of the “sonic allegory” throughout French composer Gerard Grisey’s works; more specifically of his diptych for solo contrabass clarinet Anubis-Nout (1983). The explicit references to the Egyptian mythology are not the only source of this postmodern requiem. The piece was written in memory of and dedicated to Canadian composer Claude Vivier, a friend of Grisey's who was murdered in unknown circumstances. These references provide another source for associative allegories, which constitute the link between the sound material and its implicit meaning on different levels. A reading through the Egyptian iconography is done in this paper according to the postulates formulated by the receptionists theories, about the implicit and explicit reading of the work, as well as concerning different currents of musical semiotics. The analysis allows us to approach the deeper meaning of the interpretation of this piece as a ritual.
»Zustände, jeweils andere«: Kompositorische Strategien in Wolfgang Rihms »Musik in memoriam Luigi Nono«
by Stefan Drees
in: Die Tonkunst 6 (2012), H. 2, S. 170-181
Der Aufsatz befasst sich mit Wolfgang Rihms von fünf Versuchen einer »Musik in memoriam Luigi Nono« (1990–94) und... more Der Aufsatz befasst sich mit Wolfgang Rihms von fünf Versuchen einer »Musik in memoriam Luigi Nono« (1990–94) und stellt sie als bedeutsamen Entwicklungsschritt in Bezug auf das Verfahren der Wiederverwendung eigener Kompositionen dar. Darüber hinaus verdeutlicht Werkreihe, wie sich der Komponist äußere Impulse aneignet und sie in sein eigenes Schaffen inkorporiert.
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