Article
| Title: | Interspace: vzdálenost jako kompoziční strategie |
| Variant title: | Interspace: distance as a composition strategy |
| Author: | |
| Source document: | Musicologica Brunensia. 2018, vol. 53, iss. 1, pp. 35-50 |
| Extent: | 35-50 |
| ISSN: | 1212-0391 (print); 2336-436X (online) |
| DOI: | 10.5817/MB2018-1-3 |
| Type: | Article (Czech) |
| Stable URL: | http://hdl.handle.net/11222.digilib/138327 |
| License: |
PDF
Abstract(s):
Not many, but some scholars deal with the issue of space in music. Most of them reduce this topic to dislocation of musicians out from the stage or around the public. Does it means that the frontal location of performers on the stage prevent spatial strategies of composer? In my paper I am focusing on spatio-temporal compositional strategies dealing with perception of distance in musical composition placing the sound sources in front of the listener: physical (outer) and structural (inner). Situations includes foreground / background (juxtaposition), depth (perspective) and zooming the source (focusing). Examples are taken from the works of G. Mahler, S. Reich, L. Dallapiccola, M. Górecki, T. Takemitsu, E. Varése, S. Sciarrino, J. Harvey, G. Grisey and O. Messiaen.
Keywords:
interspace; spatial music; distance; space; juxtaposition; depth; perspective; zooming; focusing; Gustav Mahler; Steve Reich; Luigi Dallapiccola; Henryk Górecki; Toru Takemitsu; Edgard Varèse; Salvatore Sciarrino; Jonathan Harvey; Gérard Grisey; Olivier Messiaen
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