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Lachenmann's Silent Voices (and the Speechless Echoes of Nono and Stockhausen)
Twentieth-Century Music ( IF 0.5 ) Pub Date : 2019-04-30 , DOI: 10.1017/s1478572219000021 TRENT LEIPERT
Twentieth-Century Music ( IF 0.5 ) Pub Date : 2019-04-30 , DOI: 10.1017/s1478572219000021 TRENT LEIPERT
In order to assess Helmut Lachenmann's characterization of (his) music as an ‘existential experience’ this article focuses on a specific aspect of many of his compositions: stretches of near-silence and minimized musical activity such as reduced dynamics and gestures which contrasts the surrounding material. I argue that in the case of his early vocal compositions Consolation I and II (1967 and 1968) these ‘meta-musical fermatas’ relate to a key portion of each work's text in order to encourage self-reflection on the part of the listener. My analyses reveal the influence of Luigi Nono and Karlheinz Stockhausen, particularly in terms of word-setting and of the works’ spiritual and political messages. I further trace the changes undertaken in these compositions and in Lachenmann's commentaries for them over the following decade. I suggest these changes relate to political events in Germany occurring between 1968 and 1977 which also led to the conception of Lachenmann's ‘music with images’, Das Mädchen mit den Schwefelhölzern .
中文翻译:
拉肯曼的沉默之声(以及诺诺和斯托克豪森的无言回声)
为了评估赫尔穆特·拉肯曼 (Helmut Lachenmann) 将(他的)音乐描述为一种“存在体验”,本文着重于他的许多作品的一个特定方面:近乎无声的延伸和最小化的音乐活动,例如减少动态和与周围环境形成鲜明对比的手势材料。我认为,就他早期的声乐作品而言安慰我 和二 (1967 和 1968 年)这些“元音乐 fermatas”与每部作品文本的关键部分相关,以鼓励听众进行自我反省。我的分析揭示了路易吉·诺诺和卡尔海因茨·斯托克豪森的影响,特别是在文字设置以及作品的精神和政治信息方面。在接下来的十年里,我进一步追溯了这些作品和拉肯曼对它们的评论所发生的变化。我认为这些变化与 1968 年至 1977 年间发生在德国的政治事件有关,这也导致了拉亨曼的“带有图像的音乐”的概念,Das Mädchen mit den Schwefelhölzern .
更新日期:2019-04-30
中文翻译:
拉肯曼的沉默之声(以及诺诺和斯托克豪森的无言回声)
为了评估赫尔穆特·拉肯曼 (Helmut Lachenmann) 将(他的)音乐描述为一种“存在体验”,本文着重于他的许多作品的一个特定方面:近乎无声的延伸和最小化的音乐活动,例如减少动态和与周围环境形成鲜明对比的手势材料。我认为,就他早期的声乐作品而言