Process music (original) (raw)
Process music (volně přeložitelné jako hudba v procesu; odpovídající český termín neexistuje) je forma hudební skladby, která je charakterizována nikoli jako výsledek kompoziční práce skladatele, ale představuje vlastní proces svého vzniku.
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| dbo:abstract | Process music (volně přeložitelné jako hudba v procesu; odpovídající český termín neexistuje) je forma hudební skladby, která je charakterizována nikoli jako výsledek kompoziční práce skladatele, ale představuje vlastní proces svého vzniku. Termín samotný předcházel a často je užíván jako synonymum pro hudební minimalismus. Příklady takové tvorby mohou být rané práce Steva Reicha, především skladba Pendulum Music (Kyvadlová hudba), kdy autor připojil visící mikrofony k celé řadě reproduktorů a nechal jimi volně a neprogramovaně pohybovat jako kyvadly nad nimi. Zpětná vazba, vznikající z tohoto procesu ve chvíli, kdy mikrofon míjel reproduktor se v dané chvíli stala vlastní plnohodnotnou součástí hudební kompozice. (cs) Process music is music that arises from a process. It may make that process audible to the listener, or the process may be concealed. Primarily begun in the 1960s, diverse composers have employed divergent methods and styles of process. "A 'musical process' as Christensen defines it is a highly complex dynamic phenomenon involving audible structures that evolve in the course of the musical performance ... 2nd order audible developments, i.e., audible developments within audible developments". These processes may involve specific systems of choosing and arranging notes through pitch and time, often involving a long term change with a limited amount of musical material, or transformations of musical events that are already relatively complex in themselves. Steve Reich defines process music not as, "the process of composition but rather pieces of music that are, literally, processes. The distinctive thing about musical processes is that they determine all the note-to-note (sound-to-sound) details and the overall form simultaneously. (Think of a round or infinite canon.)" (en) |
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| dbp:author | dbr:Frank_J._Oteri |
| dbp:composer | Annea Lockwood (en) |
| dbp:composerLink | Annea Lockwood (en) |
| dbp:conducted | 2003-11-11 (xsd:date) |
| dbp:id | annea-lockwood-beside-the-hudson-river (en) |
| dbp:published | 2004-01-01 (xsd:date) |
| dbp:reference | Kohl, Jerome. 2010. "A Child of the Radio Age". In Cut & Splice: Transmission, edited by Daniela Cascella and Lucia Farinati, 135–139. London: Sound and Music. . (en) . 1977. Het muzikale serialisme als techniek en als denkmethode: Een onderzoek naar de logische en historische samenhang van de onderscheiden toepassingen van het seriërend beginsel in de muziek van de periode 1950–1975 [Musical Serialism as a Technique and as a Method of Thinking: A Study of the Logical and Historical Interconnections Between the Different Applications of the Serial Principle from the Period 1950–1975]. Ghent: Rijksuniversiteit te Gent. (en) Griffiths, Paul. 2001. "Aleatory". The New Grove Dictionary of Music and Musicians, 2nd edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers. (en) Seibt, Johanna . 2004. Process Theories: Crossdisciplinary Studies in Dynamic Categories. Dordrecht and London: Kluwer Academic Publishers. . (en) Brown, Galen H. 2010. "Process as Means and Ends in Minimalist and Postminimalist Music". Perspectives of New Music 48, no. 2 : 180–192. (en) Nyman, Michael. 1974. Experimental Music. Cage and Beyond. London: Studio Vista. . (en) Griffiths, Paul. 2011. Modern Music and After, 3rd edition. Oxford and New York: Oxford University Press. . (en) Gann, Kyle. 1987. "Let X = X: Minimalism vs. Serialism". The Village Voice : 76. (en) Brandt, William E. 1974. "The Music of Elliott Carter: Simultaneity and Complexity". Music Educators Journal 60, no. 9 : 24–32. (en) Kohl, Jerome. 1978. "Intuitive Music and Serial Determinism: An Analysis of Stockhausen's Aus den sieben Tagen." In Theory Only 3, no. 2 : 7–19. (en) Bernard, Jonathan. 1995. "Carter and the Modern Meaning of Time". The Musical Quarterly 79, no. 4 : 644–682. (en) Edwards, Allen. 1971. Flawed Words and Stubborn Sounds: A Conversation with Elliott Carter. New York: W. W. Norton. (en) Hopp, Winrich. 1998. Kurzwellen von Karlheinz Stockhausen: Konzeption und musikalische Poiesis. Kölner Schriften zur neuen Musik 6. Mainz; New York: Schott. (en) Sabbe, Herman. 1981. "Die Einheit der Stockhausen-Zeit ...: Neue Erkenntnismöglichkeiten der seriellen Entwicklung anhand des frühen Wirkens von Stockhausen und Goeyvaerts. Dargestellt aufgrund der Briefe Stockhausens an Goeyvaerts". In Musik-Konzepte 19: Karlheinz Stockhausen: ... wie die Zeit verging ..., edited by Heinz-Klaus Metzger and Rainer Riehn, 5–96. Munich: Edition Text + Kritik. (en) Fritsch, Johannes. 1979. "Prozeßplanung". In Improvisation und neue Musik, Veröffentlichungen des Instituts für Neue Musik und Musikerziehung Darmstadt 20, edited by Reinhold Brinkmann, 108–117. Mainz: B. Schott's Söhne. (en) Reich, Steve. 2002. "Music as a Gradual Process (1968)". In his Writings about Music, 1965–2000, edited with an introduction by Paul Hillier, 9–11. Oxford and New York: Oxford University Press. ; . (en) Schiff, David. 1998. The Music of Elliott Carter, second edition. Ithaca, New York: Cornell University Press. (en) Christensen, Erik. 2004. "Overt and Hidden Processes in 20th Century Music", in Process Theories: Crossdisciplinary Studies in Dynamic Categories, edited by Johanna Seibt, 97–117. Dordrecht and London: Kluwer Academic Publishers. . (en) Kohl, Jerome. 1981. Serial and Non-Serial Techniques in the Music of Karlheinz Stockhausen from 1962–1968. Ph.D. diss., Seattle: University of Washington. (en) |
| dbp:title | Annea Lockwood Beside the Hudson River (en) |
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| rdfs:comment | Process music (volně přeložitelné jako hudba v procesu; odpovídající český termín neexistuje) je forma hudební skladby, která je charakterizována nikoli jako výsledek kompoziční práce skladatele, ale představuje vlastní proces svého vzniku. (cs) Process music is music that arises from a process. It may make that process audible to the listener, or the process may be concealed. Primarily begun in the 1960s, diverse composers have employed divergent methods and styles of process. "A 'musical process' as Christensen defines it is a highly complex dynamic phenomenon involving audible structures that evolve in the course of the musical performance ... 2nd order audible developments, i.e., audible developments within audible developments". These processes may involve specific systems of choosing and arranging notes through pitch and time, often involving a long term change with a limited amount of musical material, or transformations of musical events that are already relatively complex in themselves. (en) |
| rdfs:label | Process music (cs) Process music (en) |
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