By Irène Deliège, Max Paddison
This number of essays and interviews addresses very important theoretical, philosophical and inventive concerns in Western paintings track on the finish of the 20th- and the start of the twenty-first centuries. Edited by means of Max Paddison and Irène Deliège, the e-book bargains quite a lot of foreign views from widespread musicologists, philosophers and composers, together with Célestin Deliège, Pascal Decroupet, Richard Toop, Rudolf Frisius, Alastair Williams, Herman Sabbe, FranÃ§ois Nicolas, Marc Jimenez, Anne Boissière, Max Paddison, Hugues Dufourt, Jonathan Harvey, and new interviews with Pierre Boulez, Brian Ferneyhough, Helmut Lachenmann, and Wolfgang Rihm. half I is especially theoretical in emphasis. concerns addressed contain the old explanation of song and know-how, new ways to the theorization of atonal concord within the wake of Spectralism, debates at the 'new complexity', the heterogeneity, pluralism and stylistic omnivorousness that characterizes track in our time, and the characterization of twentieth-century and modern song as a 'search for misplaced harmony'. The orientation of half II is especially philosophical, reading recommendations of totality and inclusivity in new song, elevating questions as to what may be anticipated from an self sufficient modern musical good judgment, and contemplating the matter of the survival of the avant-garde within the context of postmodernist relativism. in addition to analytic philosophy and cognitive psychology, severe concept positive factors prominently, with theories of social mediation in tune, new views at the thought of musical fabric in Adorno's overdue aesthetic conception, and a choice for 'an aesthetics of danger' in modern paintings as a method 'to reassert the fundamental position of feedback, of judgment, and of evaluate as worthy stipulations to result in a true public debate at the paintings of today'. half III bargains artistic views, with new essays and interviews from very important modern composers who've mad
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Additional resources for Contemporary Music: Theoretical and Philosophical Perspectives
First of all, it must achieve the status of explicit formulation. Theory is actually analysis, because it looks for the reasons why a given property can be expressed in an overall and intrinsic fashion. Formulating a question therefore means separating and connecting the elements of a situation, identifying those relations that can form a consistent whole, selecting and organizing directions and methods of research. The explanatory value of a theory hinges largely on its ability to turn the phenomenon it is studying into a system of simultaneous determinations.
Clock, ruler and balance As with all forms of technical activity, music today is part of industrial society. Whether popular or art music, it is the expression of a form of civilization which has given pride of place to automation and speed within the hierarchy that governs its life-style and aesthetic values. A civilization based on quick reflexes copies the structures of automation in all decisions of everyday life and rejects the slow reactions of traditional society. I would call a society industrial when it offers a general explanation of all psychic functions on the basis of reflexes – that is, when it tends to apply automation to relations in all aspects of life.
In the second part, entitled ‘The fundamentals of spectral music’, I discuss what I see as the logical conflict upon which the new science of sound was constructed in the twentieth century. The technology of the production and control of sound and of electroacoustics and digital processing mean the establishment of new standards for understanding our sound world. Because our musical culture – which is both scientific and artistic – devises perceptual stratagems and then uses them as its basis, its defining characteristic could now be said to be the search for sonic illusion.