Harry Partch Video
compositore statunitense
Commemorazioni 2024 (Morte: Harry Partch)
- viola, strumento musicale sperimentale
- avanguardia, outsider music
- Stati Uniti d'America
- compositore, musicologo, teorico della musica, costruttore di strumenti musicali
Ultimo aggiornamento
2024-05-02
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Manfred Stahnke Harry Partch Dreyer Bourdon Ligeti 1901 1987 2005 2014 2017
Manfred Stahnke: PARTCH HARP, for harp and synthesizer Gesine Dreyer, Harfe Manfred Stahnke, Synthesizer DX 7-II This piece was written in 1987/89 for a harp in scordatura, containing "natural" just major thirds (5/4) and "natural" just minor sevenths (7/4). The numbers 5 and 7 indicate the partials of a fundamental tone "1" of course. The synthesizer's tuning follows the harp tuning and allows these just intervals for any played pitch up and down (the tuning is 12th root of 1.956, which means a12ET of a narrow "non-octave"; the mistake against just 5/4 or 7/4 is less than 1 cent). The way of thinking in "whole numbers" looks quite mathematical, but it is very much linked to how our ear is working. Apparently it measures towards "simplicity": If we listen to a so-called "tempered" interval, the ear adjusts these intervals mentally to the simpler forms, and will accept a "distuned" third as a "natural" third with some added noisy features. In my piece "PARTCH HARP" however, the "noisiness" becomes a well incorporated part. If the deviation from the simple interval is too big - say a quarter tone - then the ear cannot adjust anymore and detects a "wrong" interval. This is especially true for my octaves and fifths, the very simple 2/1 and 3/2 proportions. Imagine three "just thirds" on top of each other C-E-G#-B#. the summed up deviation from an octace C-c is almost a quartertone. The same is true for my synthesizer tuning where every minor second is "short" by 3.5 cents. If you superimpose 7 of them to get a fifth, this strange "fifth" misses 7x3.5=24.5 cents, a very audible eighth tone. The strange - or charming - feature of PARTCH HARP is that the harp is tuned in perfect octaves, and the synthesizer not. By this I get a strangely drifting vessel in an ocean of well tuned asymmetry. As to the title: Harry Partch +••.••(...)) invented a just tuned 43 tone scale, and to play it, he built his own instrumentarium. The movements are: Zwiegesang - double chant Partch Harp Partch Bourdon Partch en ciel / Soundfiles and Scores at Babelscores (http•••) Books on Microtonality: • Mein Blick auf Ligeti, Partch & Compagnons. Gesammelte Aufsätze, Vorträge und Interviews, 424 Seiten, Norderstedt 2017, ISBN 978-3-7431-6663-9 • 1001 Microtones, Neumünster 2014 ISBN 978-3-95675-003-8 • Mikrotöne und mehr - Auf György Ligetis Hamburger Pfaden, Hrsg. von Manfred Stahnke, Hamburg 2005, ISBN 3-932696-62-X Portrait: • Just in Tone & Time, Assoziationen an Manfred Stahnke, ed. Benjamin Helmer & Georg Hajdu, engl. / deutsch, Neumünster 2017, ISBN-10: 3956750209
John Cage Anton Webern Randel Richard Wagner Josquin Prez Larry Sitsky Igor Stravinsky Richard Strauss Arnold Schoenberg George Antheil Claude Debussy Elliott Carter Milton Babbitt György Ligeti Witold Lutosławski Luciano Berio Harry Partch Coleman 1945 1952 1988
✪✪✪✪✪ (http•••) ✪✪✪✪✪ What is AVANT-GARDE MUSIC? What does AVANT-GARDE MUSIC mean? AVANT-GARDE MUSIC meaning - AVANT-GARDE MUSIC definition - AVANT-GARDE MUSIC explanation. Source: Wikipedia.org article, adapted under (http•••) license. SUBSCRIBE to our Google Earth flights channel - (http•••) Avant-garde music is a form of music that is considered to be at the forefront of experimentation or innovation for its critique of existing aesthetic conventions, rejection of the status quo in favor of unique or original elements, and its intention to challenge or alienate audiences. The most commonly cited example is John Cage's 4'33" (1952), which instructs the performer(s) not to play their instrument(s) during the entire duration of the piece. Avant-garde music may be distinguished from experimental music by the way it adopts an extreme position within a certain tradition, whereas "experimental music" lies outside tradition. In a historical sense, some musicologists use the term "avant-garde music" for the radical compositions that succeeded the death of Anton Webern in 1945. Don Michael Randel writes that this period began with the work of Richard Wagner, whereas Edward Lowinsky cites Josquin des Prez. The term may also be used to refer to any other post-1945 tendency of modernist music not definable as experimental music, though sometimes including a type of experimental music characterized by the rejection of tonality. Although some modernist music is also avant-garde, a distinction can be made between the two categories. According to scholar Larry Sitsky, because the purpose of avant-garde music is necessarily political, social, and cultural critique, so that it challenges social and artistic values by provoking or goading audiences, composers such as Igor Stravinsky, Richard Strauss, Arnold Schoenberg, Anton Webern, George Antheil and Claude Debussy may reasonably be considered to have been avant-gardists in their early works (which were understood as provocative, whether or not the composers intended them that way), but the label is not really appropriate for their later music. For example, modernists of the post–World War II period, such as Elliott Carter, Milton Babbitt, György Ligeti, Witold Lutosławski, and Luciano Berio, never conceived their music for the purpose of goading an audience, and so cannot be classified as avant-garde. Composers such as John Cage and Harry Partch, on the contrary, remained avant-gardists throughout their creative careers. The 1960s saw a wave of avant-garde experimentation in popular jazz, represented by artists such as Ornette Coleman, Sun Ra, Albert Ayler, Archie Shepp, John Coltrane and Miles Davis. In the rock music of the 1970s, the "art" descriptor was generally understood to mean "aggressively avant-garde" or "pretentiously progressive". Post-punk artists from the late 1970s rejected traditional rock sensibilities in favor of an avant-garde aesthetic. In 1988 the writer Greg Tate described hip-hop music as "the only avant-garde around, still delivering the shock of the new."
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- cronologia: Compositori (Nord America).
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