Art Music like a New Sound Sensuousness
The text is devoted to a current for the contemporaneity creative problem – the search for a new aesthetic and a new musical language in the space of Art Music. In the broader context of contemporaneity are studied diverse compositional approaches in Bulgarian music after 1950’s that creatively disc...
| Основен автор: | Valchinova-Chendova, Elisaveta |
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| Формат: | Online Book Section |
| Език: | English |
| Публикувано: |
Aristotle University of Thessaloniki
2010
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| Предмети: | |
| Онлайн достъп: |
http://eprints.nbu.bg/2069/ http://btc.web.auth.gr/proceedings.html |
| Резюме: |
The text is devoted to a current for the contemporaneity creative problem – the search for a new aesthetic and a new musical language in the space of Art Music. In the broader context of contemporaneity are studied diverse compositional approaches in Bulgarian music after 1950’s that creatively discourse Musical Avant-gardes and its hypostases as the attention is especially focused on two composer’s visions, which in different ways originally and radically comment on Musical Avant-gardes by building up a new sound sensuousness: the creative work of Dimiter Christoff (born 1933) and Gheorghi Arnaoudov (born 1957).
For Dimiter Christoff the substance of his music are sound archetypes derived from archaic folkloric layers (e.g. Shoppe diaphony). Already in the 1960’s the composer has defined this substance by the term “objective material”. The monodic deployment of sound archetypes creates a sound space of an unreal, suggestive imaginary multi-linearity. This method of composing as an aesthetic and a musical language is a vital and constructive path especially for the music of composers belonging to musical cultures with a preserved folkloric tradition until the 20th century.
In a series of works of Gheorghi Arnaoudov (born 1957) composer’s vision is directed towards attaining a new aesthetic of pure music (Adorno), aestheticizing renaissance sound purity. By using various techniques (including also techniques legitimizing the language of Musical Avant-garde) and their substance rethinking is achieved a new music-sensuous semantic field.
The search for a new sound sensuousness may be regarded as a creative radicalism in the thinking about Contemporary Music as Musica Nova, opening perspective horizons for Art Music. |
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