Form, figure, and the experience of tíme in seven southern composers of the 1950S-60S

Main Article Content

Stefano Lombardi Vallauri

Abstrakt

After the 1980s it is difficult, following stylistic criteria, to draw a map of contemporary academic music. All styles are compossible, and all are practiced. In this context, the geographical entity “South of Italy” does not stand out for a musical identity with special technical-stylistic features. Rather, at a socio-cultural level, the South remains today - in music no less than in all areas where there is a gap between top development and stagnation - a land of emigrants: six out of the seven composers treated (Ivan Fedele, Giuseppe Colardo, Rosario Mirigliano, Giuseppe Soccio, Nicola Cisternino, Biagio Putignano, Paolo Aralla) live in the North of Italy. The positive aspect of this is the affinity of the South with the transnational and superstructural community of contemporary music, which from European and Western has now become almost global. The composers under consideration belong to the generation of the ‘50s, rooted in the serial and post-serial movements (from which Franco Donatoni, Luciano Berio, Luigi Nono, Salvatore Sciarrino, Giacinto Scelsi, are the principals models, to mention only the Italians), dipped in the general phenomenon of timbrism (particularly spectralism), and acquainted with electronics. They draw from these sources various instruments of compositional technique and aspects of their poetics. In particular these composers, active from the ‘80s, develop new ways of construction of the temporal form of music. They share the goal to establish a new continuity, different from the tonal one but at the same time transcending the serial and post-serial disintegration and fragmentation. The primary means to this end is a new enhancement of the ( ategory of figure, as a clear and distinct, recognizable aggregate of pitches, intervals, register, duratio is, timbre, articulation, dynamics, and texture. Each composer elaborates the atonal figurai material in different ways, emphasizing one aspect or another. For example, Fedele (1953) is a master in the management of form per se, Colardo (1953) in the activation of disturbed harmonic effects, Mirigliano (1950) in the creation of a slight tension from the smallest vibrations of sound, Soccio (1950) in the set up of movement by means of accumulations and discharges of energy, Cisternino (1957) in a Cagean-Scelsian emphasis on sound as such, Putignano (i960) in the suspension of time through the succession and transformation of images, Aralla (i960) in the foundation of form from below, from the concreteness of sound.

Downloads

Download data is not yet available.

Article Details

Jak cytować
Vallauri, S. L. (2018). Form, figure, and the experience of tíme in seven southern composers of the 1950S-60S. Interdisciplinary Studies in Musicology, (12), 91-106. Pobrano z https://pressto.amu.edu.pl/index.php/ism/article/view/15062
Dział
Articles

Referencje

  1. Basso, Pierluigi. 2004. “A contatto, dell’ombra in alcuni compositori di confine.” In L’arte innocente. Le vie eccentriche della musica contemporanea italiana, edited by Renzo Cresti, 219-40. Milano: Rugginenti.
  2. Borio, Gianmario. 1990. “La poetica della figura nella recente produzione di Donatoni.” In Donatoni, edited by Enzo Restagno, 224-36. Torino: EDT.
  3. Castanet, Pierre Albert, and Nicola Cisternino. 1993. “Giacinto Scelsi, quasi una premessa.” In Giacinto Scelsi. Viaggio al centro del suono, edited by Pierre Albert Castanet and Nicola Cisternino, 10-13. La Spezia: Luna.
  4. Cisternino, Nicola. 1993. “Giacinto Scelsi... de la Trascendenza in musica. Quattro pensieri daH’Octologo.” In Giacinto Scelsi. Viaggio al centro del suono, edited by Pierre Albert Castanet and Nicola Cisternino, 66-82. La Spezia: Luna.
  5. Cisternino, Nicola. 1997. Graffiti Sonori. La Spezia: Luna.
  6. Cisternino, Nicola. 2004. “L’uomo di una sola nota Giacinto Scelsi - L’uomo di tutti i suoni (e silenzi) John Cage.” Dharma. Trimestrale di buddhismo per la pratica e per il dialogo 18: 39-50.
  7. Cisternino, Nicola. 2005. Prières de Fontevraud. Abbaye Royale de Fontevraud.
  8. Conti, Luca. 1991. “Mirigliano: La crisi della crisi nella musica contemporanea.” Idea. Rivista mensile di cultura e dipolitica XLVII/8: 31-36.
  9. Donatoni Franco. 1986. “Processo e figura.” IQuaderni della Civica Scuola di Musica VI/13:69-73. Ferneyhough, Brian. 1984. “Forma, figura, stile: una valutazione provvisoria.” I Quaderni della Civica Scuola di Musica IV/10: 101-08.
  10. Donatoni Franco. 1986. “Il tempo della figura.” I Quaderni della Civica Scuola di Musica VI/13: 73-79.
  11. Fertonani, Cesare. 2003. “Gli archetipi e la memoria. Una conversazione con Ivan Fedele.” In Ivan Fedele. Scena, Ruah, Concerto per violoncello. CD book. Stradivarius STR 33650: 5-8.
  12. Georges, Karl E., and Ferruccio Calonghi. 2002. Dizionario Enciclopedico Latino-Italiano. Torino: Rosenberg & Sellier.
  13. Lombardi Vallauri, Stefano. 2004. “Uno spazio nel pensiero, nel cuore e nel corpo. Uno spazio per i giovani e per la città.” In Exitime 01. FontanaMIX in Manifattura, uno spazio per le nuove musiche. Programme notes, 2-7. Bologna.
  14. Lombardi Vallauri, Stefano. 2006. “Domande.” In Suoni e visioni, edited by Fabrizio Boggiano, 152-54. Genova: Joyce & Co.
  15. Melchiorre, Alessandro. 1988. “Per uno studio delle forme del tempo.” In Molteplicità di poetiche e linguaggi nella musica d’oggi, edited by Daniela Tortora, 87-93. Milano: Unicopli.
  16. Migliaccio, Carlo. 1998. “Verso nuove drammaturgie. Incontro con Giuseppe Soccio.” Sonus - Materiali per la musica contemporanea X/18: 87-97.
  17. Soccio, Giuseppe. 1998. “Gli infiniti e i piani narrativi in Pulsar Songs.” In Giuseppe Soccio, catalogue ofhis Works. Milano: Ricordi.
  18. Solomos, Gérassimos M. 1994. “La storicità della nozione di materiale.” Musi'ca/KeaZtà XV/44: 107-19.