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ELECTRONIC MUSIC: A CONCEPTUAL FRAMEWORK FOR THE PROBLEMS OF MUSICAL STRUCTURE AND SPACE
Abstract
In the late 40. of twentieth century, there was discovered the possibility of music creation by means of electronic tools. Ten years later – during the Internationale Ferienkurse fur Neue Musik – there were held lectures of electronic music. The lectures bounced wide repercussions among the participants of meetings in Darmstadt. In the context of whole legacy and available comments of Karlheinz Stockhausen, Luigi Nono, Luciano Berio, or Gyorgy Ligeti, one can be argued that the experience in experimenting with an acoustic material have had a significant impact on the adopted composer strategy. They resulted in a less or more amount of musical works in which a synthetically generated acoustic phenomena have became their material. These experiments also have verified, in varying amounts, composers' approach to the organization of sound-time space. In the case of some composers, the music composed after the intensive experiences in electronic studios displays characteristics, which did not have earlier works (eg. the phonological-electronic sound technique in Berio, a new type of texture in the form of abstract blocks and †stains' sound in Nono's music or a permanent combination of synthetic sounds with use topophonical organization of works by Stockhausen). Each of these artists in different ways adapted the capabilities of the new organization of sound space, which made a diverse range of influences of these experiences on a musical works created later. The aim of the presentation is to attempt to answer the question, what is the impact of the using of new material on a stylistic idiom, the concept of the musical work and the adopted creative strategy.
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