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553.More information
Written in 1987 and published in a collection entitled Musik als existentielle Erfahrung in 1996, this article by composer Helmut Lachenmann takes a critical and self-critical look at the experience of the Darmstadt summer courses, between the early 1950s and the beginning of the 1980's. Decade by decade, he reveals the various currents and tendencies that marked the history of Darmstadt, uncovering the sometimes insoluble paradoxes engendered by the avant-garde attitude spawned by the Darmstadt model around 1950. He tells of his experiences with Luigi Nono (his teacher in the early 1960's), Dieter Schnebel, John Cage, and Karlheinz Stockhausen. As a partisan of "dialectic structuralism", the author clarifies his own position—with reference to the 1980 Donaueschingen festival and a 1982 text entitled "Affekt und Aspekt"—in relation to those of Wolfgang Rihm and Walter Zimmermann, as well as other composers, some of whom attempted to theorize their relationship to tradition and subjectivity.
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554.More information
This paper starts off by presenting the various circumstances whereby the notion of “ icon ” can be apprehended, after which it draws up a list of the principal characteristics of icons, as defined in Peirce's writings. These are then contrasted with definitions of visual sign, which etymologically should correspond to the icon. However, the traditional icon – visual sign equation raises major difficulties with respect to one of the central issues of sign theory, namely the status to be accorded to representation. Now, it so happens that the characters attributed to the musical sign by musicologists correspond more closely to the icon. Within the musical sign, there is greater scope for the workings of the imagination, making it possible for the virtual to be perceived and for emotion to find its proper place in semiosis. This hypothesis is tested and its implications for sign theory are assessed.
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555.More information
AbstractAn introduction to analysis of the use of musical forms as an architectonic technique in the work of Normand Chaurette, this article begins with a historical presentation of the theme of the Stabat Mater, the image of the suffering mother in the Christian tradition. Musical works composed on this theme by Palestrina, Pergolesi, Schubert and Pärt are then analysed to demonstrate the kinship between their composition techniques and those used by Chaurette in his Stabat Mater II.
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556.More information
Lili Boulanger took part musically in the lively debates finde siècle France about Catholicism through her compositions, in particular her psalm settings. Her choice of psalm translation and her musical style reveal a sense of archaism and historicity that relates to catholic modernism, a movement at odds with the neo-scholastic trends of Roman ultramontanism in the years before World War I.
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