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Ontological Appropriation: Boulez and Artaud
Twentieth-Century Music Pub Date : 2021-04-30 , DOI: 10.1017/s1478572221000049
EDMUND MENDELSSOHN

This article examines the lessons that Pierre Boulez learned about sound from Antonin Artaud, suggesting that Boulez's ideas about musical writing (écriture) took shape as the composer imagined and appropriated forms of non-European expression. Boulez sometimes acknowledged the influence of ‘extra-European’ sounds in his music, but also insisted that music should not be a ‘simple ethnographic reconstruction’. Artaud, who explicitly ‘reconstructed’ the ethnographic other in a 1947 radio broadcast, will become my foil to show how Boulez's philosophy of writing hinged on an East–West dualism. I follow Boulez to South America with the Compagnie Renaud-Barrault to suggest that he took cues from Afro-Bahian Candomblé when he wrote Le Marteau sans maître. The conclusion reflects on the lessons that Boulez and Artaud might teach us about sound; namely, that recent musicological claims on behalf of the ontology of sound have modernist origins.



中文翻译:

本体占用:Boulez和Artaud

本文考察了Pierre Boulez从Antonin Artaud那里学到的声音的教训,认为Boulez的音乐创作思想(écriture)成为了作曲家想像和构想的非欧洲表现形式。布勒兹有时会承认“欧洲以外”声音在他的音乐中的影响,但他坚持认为音乐不应该是“简单的民族志重构”。阿尔托(Artaud)在1947年的广播中明确“重构”了其他民族志,他将成为我的箔纸,以展示布尔兹(Boulez)的写作哲学是如何结合东西方二元论的。我跟随Boulez和Compagnie Renaud-Barrault一起前往南美,建议他在撰写《无国界医生》时从Afro-BahianCandomblé获得线索。。结论反映了Boulez和Artaud可能会教给我们有关声音的教训;也就是说,最近代表声音本体的音乐学主张具有现代主义的渊源。

更新日期:2021-05-24
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