Towards a Grammatical Analysis of Scelsi's Late Music
Identifieur interne : 000766 ( Istex/Corpus ); précédent : 000765; suivant : 000767Towards a Grammatical Analysis of Scelsi's Late Music
Auteurs : Ian DicksonSource :
- Music Analysis [ 0262-5245 ] ; 2012-07.
English descriptors
- Teeft :
- Anges sont ailleurs, Baroni, Bars copyright, Bars grouping, Blackwell, Blackwell publishing, Canti sacri, Carlo jacoboni, Cello, Centre, Cluster material, Cognitive constraints, Cognitive processes, Compositional grammar, Constraint, Contemporary music review, Continuous pitch, Continuous sound, Conversations avec giacinto scelsi, Core syntax, Dickson, Discrete notes, Discrete units, Ditions salabert paris, Double bass, Fondazione isabella scelsi, Fred lerdahl, Generative processes, Giacinto, Giacinto scelsi, Grammar, Grammatical, Grammatical analysis, Grouping, Higher level, Ibid, Improvisation, Improvisational model, Incipient pitch, Intermittent pitches, Intuitive constraints, Johannes menke, Julian anderson, Kind permission, Late music, Late work, Late works, Loudness, Mario baroni, Martin zenck, Melodic motion, Morphological unit, Music analysis, Musicae scientiae, Musical grammar, Musical surface, Nota sola, Octave, Original improvisations, Other hand, Other words, Performance conventions, Pitch centrality, Pitch centre, Pitch class, Poco cresc, Preliminary suggestions, Quattro pezzi, Recording equipment, Relative loudness, Relative salience, Right sound, Robert hasegawa, Rossana dalmonte, Salience, Salient traits, Scelsi, Second movement, Several reasons, Sharon kanach, Similar vein, Solo violin, Structural rules, Successful improvisations, Syntactical relation, Tast, Third movement, Timbre, Tonal fusion, Tonal music, Trait, Transitional works, Tristan murail, Vibrato, Western canon, Xnoybis.
Abstract
Giacinto Scelsi (1905–1988) is a problematic figure for musical analysis on account of his extreme anti‐rationalism and devaluing of the score. By the 1950s he was creating music through improvisation and delegating to assistants the task of transcribing the results. The idiom he evolved was novel not only in its extreme economy of means, usually consisting of subtle inflections of continuous sounds, but also in its apparent rejection of any rational organisation. Analysts of Scelsi's work have tended to concentrate on large‐scale musical architecture, neglecting the apparently redundant, non‐developmental gestures from which, nonetheless, this architecture must be built up. Many of Scelsi's advocates have encouraged this by insisting on the music's irreducibility and exceptional rapport with sound. Such an argument stems from the composer's own mysticism: he attributed the automaticity of his improvisations to the cosmic power of sound, rather than to the long hours that he spent creating them. This article explores the idea that Scelsi's music is conditioned, if not by an explicit grammar (traditional or avant‐garde), then by the ‘model’ of the original improvisations, and that his manipulation of nuance can be considered as a kind of syntax. It argues that a grammatical analysis accounts for the persuasiveness and variety of the improvisations more plausibly than statistical analysis or metaphysical formulations involving sound ‘itself’.
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DOI: 10.1111/j.1468-2249.2012.00336.x
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ISTEX:A83CA84F79239E3466DAA48ACF42C4C088569273Le document en format XML
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This article explores the idea that Scelsi's music is conditioned, if not by an explicit grammar (traditional or avant‐garde), then by the ‘model’ of the original improvisations, and that his manipulation of nuance can be considered as a kind of syntax. 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This article explores the idea that Scelsi's music is conditioned, if not by an explicit grammar (traditional or avant‐garde), then by the ‘model’ of the original improvisations, and that his manipulation of nuance can be considered as a kind of syntax. 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By the 1950s he was creating music through improvisation and delegating to assistants the task of transcribing the results. The idiom he evolved was novel not only in its extreme economy of means, usually consisting of subtle inflections of continuous sounds, but also in its apparent rejection of any rational organisation.</p><p>Analysts of <hi rend="fc">S</hi>celsi's work have tended to concentrate on large‐scale musical architecture, neglecting the apparently redundant, non‐developmental gestures from which, nonetheless, this architecture must be built up. Many of <hi rend="fc">S</hi>celsi's advocates have encouraged this by insisting on the music's irreducibility and exceptional rapport with sound. Such an argument stems from the composer's own mysticism: he attributed the automaticity of his improvisations to the cosmic power of sound, rather than to the long hours that he spent creating them.</p><p>This article explores the idea that <hi rend="fc">S</hi>celsi's music is conditioned, if not by an explicit grammar (traditional or avant‐garde), then by the ‘model’ of the original improvisations, and that his manipulation of nuance can be considered as a kind of syntax. It argues that a grammatical analysis accounts for the persuasiveness and variety of the improvisations more plausibly than statistical analysis or metaphysical formulations involving sound ‘itself’.</p></abstract><textClass><keywords rend="tocHeading1"><term>ORIGINAL ARTICLES</term></keywords><keywords rend="articleCategory"><term>ORIGINAL ARTICLE</term></keywords></textClass><langUsage><language ident="en"></language></langUsage></profileDesc><revisionDesc><change xml:id="refBibs-istex" who="#ISTEX-API" when="2018-06-13">References added</change></revisionDesc></teiHeader></istex:fulltextTEI><json:item><extension>txt</extension><original>false</original><mimetype>text/plain</mimetype><uri>https://api.istex.fr/document/A83CA84F79239E3466DAA48ACF42C4C088569273/fulltext/txt</uri></json:item></fulltext><metadata><istex:metadataXml wicri:clean="Wiley, elements deleted: body"><istex:xmlDeclaration>version="1.0" encoding="UTF-8" standalone="yes"</istex:xmlDeclaration><istex:document><component type="serialArticle" version="2.0" xml:id="musa336" xml:lang="en"><header><publicationMeta level="product"><doi origin="wiley">10.1111/(ISSN)1468-2249</doi><issn type="print">0262-5245</issn><issn type="electronic">1468-2249</issn><idGroup><id type="product" value="MUSA"></id></idGroup><titleGroup><title sort="MUSIC ANALYSIS" type="main">Music Analysis</title><title type="short">Music Analysis</title></titleGroup></publicationMeta><publicationMeta level="part" position="07102"><doi>10.1111/musa.2012.31.issue-2</doi><copyright ownership="publisher">Music Analysis © 2012 Blackwell Publishing Ltd</copyright><numberingGroup><numbering number="31" type="journalVolume">31</numbering><numbering type="journalIssue">2</numbering></numberingGroup><coverDate startDate="2012-07">July 2012</coverDate></publicationMeta><publicationMeta level="unit" position="30" status="forIssue" type="article"><doi>10.1111/j.1468-2249.2012.00336.x</doi><idGroup><id type="unit" value="MUSA336"></id></idGroup><countGroup><count number="26" type="pageTotal"></count></countGroup><titleGroup><title type="tocHeading1">ORIGINAL ARTICLES</title><title type="articleCategory">ORIGINAL ARTICLE</title></titleGroup><copyright ownership="publisher">© 2012 The Author. Music Analysis © 2012 Blackwell Publishing Ltd</copyright><eventGroup><event agent="bestset" date="2012-09-18" type="xmlCreated"></event><event type="firstOnline" date="2012-11-12"></event><event type="publishedOnlineFinalForm" date="2012-11-12"></event><event type="xmlConverted" agent="Converter:WILEY_ML3G_TO_WILEY_ML3GV2 version:3.8.8" date="2014-02-03"></event><event type="xmlConverted" agent="Converter:WML3G_To_WML3G version:4.3.4 mode:FullText" date="2015-02-25"></event></eventGroup><numberingGroup><numbering type="pageFirst">216</numbering><numbering type="pageLast">241</numbering></numberingGroup><objectNameGroup><objectName elementName="figure">Ex</objectName></objectNameGroup><linkGroup><link type="toTypesetVersion" href="file:MUSA.MUSA336.pdf"></link></linkGroup></publicationMeta><contentMeta><titleGroup><title type="short">Towards a Grammatical Analysis of Scelsi's Late Music</title><title type="shortAuthors">Ian <fc>D</fc>ickson</title><title type="main">Towards a Grammatical Analysis of <fc>S</fc>celsi's Late Music</title></titleGroup><creators><creator creatorRole="author" xml:id="musa336-cr-0001"><personName><givenNames>Ian</givenNames><familyName>Dickson</familyName></personName></creator></creators><abstractGroup><abstract type="main"><title type="main">Abstract</title><p>Giacinto <fc>S</fc>celsi (1905–1988) is a problematic figure for musical analysis on account of his extreme anti‐rationalism and devaluing of the score. By the 1950s he was creating music through improvisation and delegating to assistants the task of transcribing the results. The idiom he evolved was novel not only in its extreme economy of means, usually consisting of subtle inflections of continuous sounds, but also in its apparent rejection of any rational organisation.</p><p>Analysts of <fc>S</fc>celsi's work have tended to concentrate on large‐scale musical architecture, neglecting the apparently redundant, non‐developmental gestures from which, nonetheless, this architecture must be built up. Many of <fc>S</fc>celsi's advocates have encouraged this by insisting on the music's irreducibility and exceptional rapport with sound. Such an argument stems from the composer's own mysticism: he attributed the automaticity of his improvisations to the cosmic power of sound, rather than to the long hours that he spent creating them.</p><p>This article explores the idea that <fc>S</fc>celsi's music is conditioned, if not by an explicit grammar (traditional or avant‐garde), then by the ‘model’ of the original improvisations, and that his manipulation of nuance can be considered as a kind of syntax. It argues that a grammatical analysis accounts for the persuasiveness and variety of the improvisations more plausibly than statistical analysis or metaphysical formulations involving sound ‘itself’.</p></abstract></abstractGroup></contentMeta><noteGroup><note numbered="no" xml:id="musa336-note-0001">An early version of this article was delivered during the Cardiff Music Analysis Conference in 2008. I would like to thank the staff of the Fondazione Isabella Scelsi for their generous assistance.</note></noteGroup></header></component></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Towards a Grammatical Analysis of Scelsi's Late Music</title></titleInfo><titleInfo type="abbreviated" lang="en"><title>Towards a Grammatical Analysis of Scelsi's Late Music</title></titleInfo><titleInfo type="alternative" contentType="CDATA" lang="en"><title>Towards a Grammatical Analysis of Scelsi's Late Music</title></titleInfo><name type="personal"><namePart type="given">Ian</namePart><namePart type="family">Dickson</namePart><role><roleTerm type="text">author</roleTerm></role></name><typeOfResource>text</typeOfResource><genre type="article" displayLabel="article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-6N5SZHKN-D">article</genre><originInfo><publisher>Blackwell Publishing Ltd</publisher><dateIssued encoding="w3cdtf">2012-07</dateIssued><dateCreated encoding="w3cdtf">2012-09-18</dateCreated><copyrightDate encoding="w3cdtf">2012</copyrightDate></originInfo><language><languageTerm type="code" authority="rfc3066">en</languageTerm><languageTerm type="code" authority="iso639-2b">eng</languageTerm></language><abstract>Giacinto Scelsi (1905–1988) is a problematic figure for musical analysis on account of his extreme anti‐rationalism and devaluing of the score. By the 1950s he was creating music through improvisation and delegating to assistants the task of transcribing the results. The idiom he evolved was novel not only in its extreme economy of means, usually consisting of subtle inflections of continuous sounds, but also in its apparent rejection of any rational organisation. Analysts of Scelsi's work have tended to concentrate on large‐scale musical architecture, neglecting the apparently redundant, non‐developmental gestures from which, nonetheless, this architecture must be built up. Many of Scelsi's advocates have encouraged this by insisting on the music's irreducibility and exceptional rapport with sound. Such an argument stems from the composer's own mysticism: he attributed the automaticity of his improvisations to the cosmic power of sound, rather than to the long hours that he spent creating them. This article explores the idea that Scelsi's music is conditioned, if not by an explicit grammar (traditional or avant‐garde), then by the ‘model’ of the original improvisations, and that his manipulation of nuance can be considered as a kind of syntax. It argues that a grammatical analysis accounts for the persuasiveness and variety of the improvisations more plausibly than statistical analysis or metaphysical formulations involving sound ‘itself’.</abstract><relatedItem type="host"><titleInfo><title>Music Analysis</title></titleInfo><titleInfo type="abbreviated"><title>Music Analysis</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><subject><genre>article-category</genre><topic>ORIGINAL ARTICLE</topic></subject><identifier type="ISSN">0262-5245</identifier><identifier type="eISSN">1468-2249</identifier><identifier type="DOI">10.1111/(ISSN)1468-2249</identifier><identifier type="PublisherID">MUSA</identifier><part><date>2012</date><detail type="volume"><caption>vol.</caption><number>31</number></detail><detail type="issue"><caption>no.</caption><number>2</number></detail><extent unit="pages"><start>216</start><end>241</end><total>26</total></extent></part></relatedItem><identifier type="istex">A83CA84F79239E3466DAA48ACF42C4C088569273</identifier><identifier type="ark">ark:/67375/WNG-FM47FR5G-C</identifier><identifier type="DOI">10.1111/j.1468-2249.2012.00336.x</identifier><identifier type="ArticleID">MUSA336</identifier><accessCondition type="use and reproduction" contentType="copyright">Music Analysis © 2012 Blackwell Publishing Ltd© 2012 The Author. Music Analysis © 2012 Blackwell Publishing Ltd</accessCondition><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-L0C46X92-X">wiley</recordContentSource></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/A83CA84F79239E3466DAA48ACF42C4C088569273/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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