de conhecimento obrigatório (14)

Morton Feldman, For Bunita Marcus,
Hildegard Kleeb, Piano, 1991

E nós por cá? (4)

The music that composers make can be heard through several media; the most traditional way is to hear it live, in the presence, or as one of, the musicians. Live music can also be broadcast over the radio or television.

(por cá acaba-se com as orquestras, com as companhias de bailado, programas de televisão não há, portanto resta-nos a rádio...)

4 Comments:
At Quarta-feira, 17 Agosto, 2005, joana araujo said...
ola stor!!! eu disse k um dia ainda comentava o seu blog,e aki tou eu! (como nao vinha aqui ha ja algum tempo, pk tou de ferias, ate me assustei com tantos posts) concordo com o estado de cultura em k se encontra o nosso pais... ainda no outro dia fui ver um concerto a espinho em k (no intervalo)iam assinar um protocolo entre a epme e a camara para a criaçao de uma orquestra de jovens.esse concerto era suposto ter começado as 21 e 30, mas como a senhora ministra da cultura foi assistir ao concerto este apenas começou as 22 e 30.(nao sei porque esperamos tanto tempo por pessoas k insistem em “cortar-nos as asas”)de quaquer modo e de salientar o ambiente hostil quando a senhora entrou acompanhada de guarda-costas:uns bateram palmas, outros experimentaram uns assobios, e outros apenas fizeram silencio.terao sido formas de protesto??? e pena k acabam com a cultura...afinal,o que somos nos sem cultura???

At Quarta-feira, 17 Agosto, 2005, pb said...
Olá Joana, respondendo à tua última pergunta, “o que somos nós sem cultura” à qual eu acrescentaria sem educação, somos isto mesmo, um jardim plantado à beira-mar de seu nome Portugal!

At Sexta-feira, 19 Agosto, 2005, t. said...
é revoltante
é cansativo
no nosso país a cultura é vista como o alfinete que se coloca no casaco
é giro,
fica “bem”
mas não se usa todos os dias
argh!!
um abraço

At Sexta-feira, 19 Agosto, 2005, sasfa said...
Boa esta imagem do alfinete na lapela! É exactmente isso! Serve para mostrar aos outros, para pôr em dias de festa, mas nada de sério em que valha a pena investir...

Atonality (7)

Dinâmicas, acentuação, articulação, e coloração estão indicadas com uma exactidão e detalhe sem precedentes; nada podia ser assumido fora do contexto; cada acontecimento ou aspecto de um acontecimento tem agora um significado novo e independente.

Eric Salzman, Twentieth-Century Music – An Introduction, 1988
(tradução de pb)

E nós por cá? (3)

(definição simples, pura e dura. gosto particularmente do fim, “vocação na qual o aprendiz participa”, muito bom mesmo...)

Vocational education (or Vocational Education and Training (VET)) prepares learners for careers or professions that are traditionally non-academic and directly related to a trade, occupation or ‘vocation’ in which the learner participates.

(... é caso para dizer e nós por cá? Como estamos de ensino vocacional? muito mal, como nunca vi...)

1 Comments:
At Sexta-feira, 19 Agosto, 2005, sasfa said...
No nosso dicionário “ensino vocacional” é: actividade secundária que se propõe dar bom ar e uma certa elevação às mentes dos futuros engenheiros, médicos e economistas.

Regresso (1)

Depois de um longo período parado o blogue Contemporâneas voltou, sem a possibilidade aberta aos comentários, mas voltou, que é o que me interessa! Fiquei contente, não gosto de ver blogues, os que realmente me interessam, a acabar, pois quer se queira quer não, vamos criando algumas dependências...

Atonality (6)

O termo atonal começa por surgir esporadicamente em textos técnicos, em publicações de língua alemã. Pode ter sido usado pela primeira vez por um seu aluno, Egon Wellesz, que teria achado o termo adequado para descrever a nova música de Schoenberg, e assim o publicaria num artigo em Setembro de 1911. “Schoenberg e Berg não gostavam do adjectivo atonal, sentindo-o como difamante, e que, se tomado à letra, como sentido de uma música sem tom, o que seria perfeitamente absurdo (...) O adjectivo “atonal” denotava, [no entanto, e] de forma bastante precisa, o choque que [esta música] teria provocado” naquela primeira década do século XX.

Atonality (5)

(Arnold Schoenberg to Dika Newlin)

“You have not suffered enough. You must suffer”.

Dika Newlin, Schoenberg Remembered: Diaries and Recollections, (1938-76),
1980

Atonality (4)

We need a system-master, a teacher of the objective and organization, with enough genius to unite the old-established, the archaic, with the revolutionary.

Thomas Mann, Doctor Faustus

Atonality (3)

Schoenberg was himself well aware of the ambiguities and limitations inherent in any analysis of a musical work, especially an atonal composition. In a lecture of 1932 on the Four Orchestral Songs, he cautioned his listeners in a way that the author of this book can only echo: “I would not have you believe, ladies and gentlemen, that with this analysis all aspects of this section have been elucidated.... I state what I see, as far as I am able to express it. Yet in the end, this is still a path on which one must feel one’s way, step by step, with the tip of one’s toes.”

Bryan R. Simms, The Atonal Music of Arnold Schoenberg, 1908-1923, 2000

Atonality (2)

(sobre A. Schoenberg...)

Mahler was one of the last, saying: “I don’t understand his music, but he’s young and perhaps he’s right. I am old and I daresay my ear is not sensitive enough”.

John L. Holmes, Composers on Composers, 1990

Atonality (1)

In a letter addressed in 1909 to Ferruccio Busoni, Schoenberg described his recent compositions as works that demand “belief and conviction.” They were products of pure imagination, he said, not objects to be judged by outward appearance, and they were intended only for those who take “the side of all who seek.” With these generalizations he described a new style of music with which he had been experimenting for about a year.

Bryan R. Simms, The Atonal Music of Arnold Schoenberg, 1908-1923, 2000

2 Comments:
At Domingo, 14 Agosto, 2005, sasfa said...
Também aqui a imaginação, tal como no texto referente a Bartok, embora neste se pareça opôr os dois compositores no que respeita a esta questão! Não será este o denominador comum de toda a composição, tonal, atonal, dodecafónica, electrónica, etc?!

At Domingo, 14 Agosto, 2005, pb said...
São essas mesmas, as oposições que eu vou lançando aqui para o blogue! Tudo completamente intencional.

Aesthetics and Repertoire

The most basic premiss of Gould’s aesthetic was that music is primarily mental and only secondarily physical that sound is a medium for the transmission of music but not a necessary, defining aspect of music itself. For Gould a musical work was an abstract entity that could be fully comprehended in the mind in the absence of performance, without even the recollection of sounds or of physical means of production. A musical work thus existed beyond the sensory experience of it. Such a premiss may at first seem odd: Gould was, after all, first and foremost a performer, not a theorist, and much of his thinking about music took place in the context of performance. His work brought him constantly into contact with physical aspects of music-making; indeed, he took a more active interest than most classical musicians in such practical matters as the mechanics of his body, the action of his piano, and the techniques of recording. And he certainly cared about how his performances sounded. But there is really no contradiction here. To think about music in abstract terms is not necessarily to ignore music as sound; it is merely to make the physical aspect of music subservient to the conceptual. The hands serve the mind, not the reverse. Such a premiss is in fact commonplace: it places Gould within a particular tradition in the history of music aesthetics, a tradition with a long history and a substantial literature, and including performers of many different historical periods and intellectual backgrounds. What set Gould apart is that, unlike most performers, he did not reconcile his abstract view of music with conventional views on matters of performance. Instead, he permitted his view to influence his musical opinions and activities in unusually direct and idiosyncratic ways, and it was this willingness to adjust practice to accommodate theory that was the source for many of his controversial ideas and interpretations. Ultimately, it is to Gould’s abstraction, however commonplace it might at first seem, that we owe much of what is most interesting, characteristic, and provocative about his work.

Kevin Bazzana, Glenn Gould: The Performer in the Work A Study in Performance Practice, 1997

de conhecimento obrigatório (13)

Nina Hagen Band, Nina Hagen Band, 1978

Béla Bartók

Bartók is a composer who is not easily classified and whose style cannot be described either briefly or by means of standard, generally accepted terms or ‘isms’. He propounded no systems as did Schönberg and Hindemith, established no clear-cut direction as did Stravinsky (neo-classicism) and founded no ‘school’. The direct influence of his music on younger composers, compared to that of the three just mentioned, has been correspondingly small. This may be partly due to his retiring nature and mode of life but even more to the fact that his music is in the last analysis incapable of being codified, hence incapable of being directly imitated. It is witness to the enormous creative imagination of its composer, whose natural musicianship may well exceed that of any other twentieth-century composer. Bartók was more concerned with writing music as he felt it than he was with questions of æsthetics and idiom. His lifelong preoccupation with folksong - a distinctly concrete and vital matter - and its relation to the composer constitute his only theoretical concern. That he was thoroughly capable of the most minute systernatisation is apparent from the pains he took in the classification of folk music. In composing, however, he was entirely unsystematic, following only the devices of his own fantasy.

Everett Helm, The Music of Béla Bartók, 1957
(Imagem: Bartók Béla arcképe, 1913, Olaj, vászon, 67 x 46 cm, Magántulajdon, New York)

de conhecimento obrigatório (12)

Luciano Berio, The Complete Works for Solo Piano, New Albion, David Arden, piano, 1997

from my pupils

“This book I have learned from my pupils”.

Arnold Schoenberg, Theory of Harmony, Vienna, July, 1911

3 Comments:
At Quarta-feira, 10 Agosto, 2005, DGP said...
Eu, pelo contrário “roubei” um livro ao Bockman. Uma sebenta original, feita na altura em fotocópia com recortes colados. Tive umas aulas com ele em casa, mas entretanto desapareci e esqueci-me de lhe devolver.

At Segunda-feira, 15 Agosto, 2005, sergio azevedo said...
Bochmann, rapaz, BOCHMANN!!!

At Sexta-feira, 19 Agosto, 2005, DGP said...
ups...só espero não ter pago as aulas em cheque!

Seis Peças, Op. 19

The Six Little Pieces, Op 19 illustrate Schoenberg’s ability to reduce the musical elements to their very limits. Each piece has its own form, miniature though it may be, and the mood of each piece is strongly contrasting in expression. The first five pieces were written in one day, February 19, 1911; the sixth, a piece reminiscing on the death of Gustav Mahler, was composed on June 17, 1911.

Leonard Stein presents Arnold Schoenberg’s Music, Fall 2001

Futurismo italiano (4)

Luigi Russolo, Dynamism of an Automobile, 1912-13
Musée National d'Art Moderne, Paris

Futurismo italiano (3)

Futurismo italiano (2)