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The combination of new insights into Ligeti by people who knew him
with new analytical approaches will make this a core publication
not only for Ligeti scholars, but also for readers interested in
post-war music history and in Hungarian culture. Shortlisted for
the RPS Music Award 2012 for Creative Communication. György
Ligeti: Of Foreign Lands and Strange Sounds offers a new assessment
of a composer whose constant exploration of new sound worlds- based
on the musics of different cultures and ages - contributed in
crucial ways to making him one of the most important musical voices
of the last 50 years. The book combines texts by former students,
colleagues and friends, who reflect on different and so far unknown
aspects of Ligeti's persona, with new musicological interpretations
of his style and several of his main works. Among the contributors
are some of the most eminent Ligeti scholars, including Richard
Steinitz and Paul Griffiths. Louise Duchesneau, Ligeti's assistant
of over 20 years, acts not only as contributor but also as
co-editor of the volume. Many of the musicological chapters are
based on studies of Ligeti's sketches, which are now housed by the
Paul Sacher Foundation in Basle and were made available for
research only recently. Two close collaborators representing
disciplines which deeply interested Ligeti - Heinz-Otto Peitgen (a
mathematician who introduced Ligeti to fractal geometry, which
influenced many if his works since 1985) and Simha Arom (an
ethnomusicologist who acquainted Ligeti with the complex rhythmic
patters of the music of Sub-saharan Africa) - also reflect on the
composer for the very first time in writing. The combination of new
insights into Ligeti by people who knew him with new analytical
approaches will make this a core publication not only for Ligeti
scholars, but also for readers interested in music of the second
half of the twentieth century and in Hungarian culture. WOLFGANG
MARX is Lecturer in Music, University College Dublin. LOUISE
DUCHESNEAU was Ligeti's assistant for 20 years Contributors: SIMHA
AROM, JONATHAN W. BERNARD, CIARÁN CRILLY, LOUISE DUCHESNEAU,
BENJAMIN DWYER, TIBORC FAZEKAS, PAUL GRIFFITHS, ILDIKÓ
MÁNDI-FAZEKAS, WOLFGANG MARX, HEINZ-OTTO PEITGEN, FRIEDEMANN
SALLIS, WOLFGANG-ANDREAS SCHULTZ, MANFRED STAHNKE, RICHARD STEINITZ
This book examines the impact place and displacement can have on
the composition and interpretation of Western art music, using as
its primary objects of study the work of Istvan Anhalt (1919-2012),
Gyoergy Kurtag (1926-), and Sandor Veress (1907-92). Although all
three composers are of Hungarian origin, their careers followed
radically different paths. Whereas, Kurtag remained in Budapest for
most of his career, Anhalt and Veress left: the former in 1946 and
immigrated to Canada and the latter in 1948 and settled in
Switzerland. All three composers have had an extraordinary impact
in the cultural environments within which their work took place. In
the first section, ""Place and Displacement,"" contributors examine
what happens when composers and their music migrate in the
culturally complex world of the late twentieth century. The past
one hundred years produced record numbers of refugees, and this
fact is now beginning to resonate in the study of music. As Anhalt
himself forcefully asserts, however, not all composers who emigrate
should be understood as exiles. The first chapters of this book
explore some of the problems and questions surrounding this issue.
Essays in the second section, ""Perspectives on Reception,
Analysis, and Interpretation,"" look at how performing acts of
interpretation on music implies bringing the time, place, and
identity of the musician, the analyst, and the teacher to bear on
the object of study. Like Kodaly, Kurtag considers his work to be
""naturally"" embedded in Hungarian culture, but he is also a
quintessentially European artist. Much of his production - he is
one of the twentieth century's most prolific composers of vocal
music - involves the setting of Hungarian texts, but in the late
1970s his cultural horizons expanded to include texts in Russian,
German, French, English, and ancient Greek. The book explores how
musicologists' divergent cultural perspectives impinge on the
interpretation of this work. The final section, ""The Presence of
the Past and Memory in Contemporary Music,"" examines the impact
time and memory can have on notions of place and identity in music.
All living art taps into the personal and collective past in one
way or another. The final four chapters look at various aspects of
this relationship.
During the twentieth century, electronic technology enabled the
explosive development of new tools for the production, performance,
dissemination and conservation of music. The era of the mechanical
reproduction of music has, rather ironically, opened up new
perspectives, which have contributed to the revitalisation of the
performer's role and the concept of music as performance. This book
examines questions related to music that cannot be set in
conventional notation, reporting and reflecting on current research
and creative practice primarily in live electronic music. It
studies compositions for which the musical text is problematic,
that is, non-existent, incomplete, insufficiently precise or
transmitted in a nontraditional format. Thus, at the core of this
project is an absence. The objects of study lack a reliably precise
graphical representation of the work as the composer or the
composer/performer conceived or imagined it. How do we compose,
perform and study music that cannot be set in conventional
notation? The authors of this book examine this problem from the
complementary perspectives of the composer, the performer, the
musical assistant, the audio engineer, the computer scientist and
the musicologist.
During the twentieth century, electronic technology enabled the
explosive development of new tools for the production, performance,
dissemination and conservation of music. The era of the mechanical
reproduction of music has, rather ironically, opened up new
perspectives, which have contributed to the revitalisation of the
performer's role and the concept of music as performance. This book
examines questions related to music that cannot be set in
conventional notation, reporting and reflecting on current research
and creative practice primarily in live electronic music. It
studies compositions for which the musical text is problematic,
that is, non-existent, incomplete, insufficiently precise or
transmitted in a nontraditional format. Thus, at the core of this
project is an absence. The objects of study lack a reliably precise
graphical representation of the work as the composer or the
composer/performer conceived or imagined it. How do we compose,
perform and study music that cannot be set in conventional
notation? The authors of this book examine this problem from the
complementary perspectives of the composer, the performer, the
musical assistant, the audio engineer, the computer scientist and
the musicologist.
The term 'music sketch' relates to the vast variety of documents
that are used by composers to work out a musical technique or idea
and to prepare their work for performance or publication. These
documents can often provide crucial insights into authorship,
biography, editorial practice and musical analysis. This
introduction provides students and scholars with the knowledge and
skills they need to embark on research projects involving the study
of composers' working documents. Presenting examples of the
compositional process over a 400-year period, it includes a
selection of detailed case studies on how sketches were created and
the techniques that were used, such as transcription and the
sorting of loose leaves. Numerous illustrations of manuscripts and
autographs, many of which have never been published before, show
how these vital documents can be used to better understand
compositional processes.
This indispensable handbook, first published in 2004, explains how
scholars and students should work with and think about the
composer's working manuscripts. This book surveys the knowledge
necessary to work efficiently in archives and libraries housing
this material and with the skills and techniques specifically
related to sketch studies: transcription, reconstructing
sketchbooks, deciphering handwriting, dating documents. It deals
with the music of important twentieth-century composers and
presents visual examples of manuscripts from the collections of
world-renowned institutions such as the Paul Sacher Foundation. The
book aims to make the work of both researchers and students more
efficient and rewarding.
This indispensable handbook explains how scholars and students
should work with and think about the composer's working
manuscripts. Over the past quarter century, the scholarly study of
autograph sources has exploded and nowhere is this more true than
in the field of twentieth-century music. And yet, few if any
courses or seminars broach the subject of sketch studies and the
skills required to examine the manuscripts. This book surveys the
knowledge necessary to work efficiently in archives and libraries
housing this material and with the skills and techniques
specifically related to sketch studies: transcription,
reconstructing sketchbooks, deciphering handwriting, dating
documents. It deals with the music of important twentieth-century
composers and presents visual examples of manuscripts from the
collections of world renowned institutions such as the Paul Sacher
Foundation. The book aims to make the work of both researchers and
students more efficient and rewarding.
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