Sound mass (original) (raw)
Unter Klangkomposition versteht man im engeren Sinne die kompositorische Gestaltung der Struktur von Klängen und Tongemischen mit elektronischen Mitteln. Im weiteren Sinne werden darunter auch verschiedene Formen der Klangflächenkomposition verstanden, die mit konventionellen Instrumenten arbeiten. Als bekannteste Vertreter der Klangkomposition gelten Karlheinz Stockhausen, György Ligeti, Friedrich Cerha und Krzysztof Penderecki. Klangkompositionen standen anfangs in engem Bezug zur Seriellen Musik, von der sie sich später jedoch auch aleatorisch bzw. lösten.
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| dbo:abstract | Unter Klangkomposition versteht man im engeren Sinne die kompositorische Gestaltung der Struktur von Klängen und Tongemischen mit elektronischen Mitteln. Im weiteren Sinne werden darunter auch verschiedene Formen der Klangflächenkomposition verstanden, die mit konventionellen Instrumenten arbeiten. Als bekannteste Vertreter der Klangkomposition gelten Karlheinz Stockhausen, György Ligeti, Friedrich Cerha und Krzysztof Penderecki. Klangkompositionen standen anfangs in engem Bezug zur Seriellen Musik, von der sie sich später jedoch auch aleatorisch bzw. lösten. (de) La masa de sonido o masa sonora es una textura musical cuya composición, en contraste con otras texturas más tradicionales, «minimiza la importancia de las alturas musicales individuales para preferir la textura, el timbre y la dinámica como principales formadores del gesto y el impacto». (es) In musical composition, a sound mass (also sound collective, sound complex, tone shower, sound crowd, or cloud) is the result of compositional techniques, in which, "the importance of individual pitches", is minimized, "in preference for texture, timbre, and dynamics as primary shapers of gesture and impact", obscuring, "the boundary between sound and noise". Techniques which may create or be used with sound mass include extended techniques such as muted brass or strings, flutter tonguing, wide vibrato, extreme ranges, and glissandos as the continuum for "sound mass" moves from simultaneously sounding notes – clusters etc., towards stochastic cloud textures, and 'mass structure' compositional textures which evolve over time. In a sound mass, "the traditional concept of 'chord' or vertical 'event' [is] replaced by a shifting, iridescent fabric of sound". The use of "chords approaching timbres" begins with Debussy and Edgard Varèse often carefully scored individual instrumental parts so that they would fuse into one ensemble timbre or sound mass. Explored by Charles Ives and Henry Cowell in the early part of the twentieth century, this technique also developed from the modernist tone clusters and spread to orchestral writing by the mid 1950s and 1960s. "Unlike most tonal and non-tonal linear dissonances, tone clusters are essentially static. The individual pitches are of secondary importance; it is the sound mass that is foremost." One French composer active in this period whose music takes a sound-mass approach directly influenced by both Debussy and Varèse is Maurice Ohana. (en) 音響作曲法（おんきょうさっきょくほう、独: Klangkomposition）とは、現代音楽において、狭義には電子的手段による音響と合成音の組織、構成による作曲法であると理解されている。広義には、従来の楽器のトーン・クラスターやグリッサンド、特殊奏法による雑音や非楽音などの働きによる音響平面作曲法（独:Klangflächenkomposition）の多様な形態をもまた意味するようになった。 音響作曲の代表者として、カールハインツ・シュトックハウゼン、リゲティ・ジェルジュ、フリードリヒ・ツェルハ、クシシュトフ・ペンデレツキ等がいる。 音響作曲は、最初はセリエル音楽と密接に関係していたが、後に偶然性の音楽やへと解決された。 (ja) |
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| dbp:reference | Andrieux, Françoise . "Cecconi-Botella, Monic". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan. (en) Dixon, Gail Susan . The Music of Harry Freedman. University of Toronto. . (en) Composers Quartet. Babbitt, Milton: String Quartet No. 2; Ruth Crawford Seeger: String Quartet; George Perle: String Quartet No. 5. Program notes, principally by Robert P. Morgan, on slipcase. LP recording, 1 disc: analog, 12 in, 33⅓ rpm. Nonesuch H-71280. New York: Nonesuch Records, 1973. (en) Reisberg, Horace . "The Vertical Dimension". In Aspects of Twentieth-Century Music, edited by Richard DeLone and Gary Wittlich. Englewood Cliffs, New Jersey: Prentice-Hall. . (en) Palmer, Robert. 1982. "Modern Twists on the Ancient Drone". The New York Times : 2:17col1 (en) Rae, Caroline . "Ohana, Maurice". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan. (en) Erickson, Robert . Sound Structure in Music. University of California Press. . (en) Henck, Herbert . Klaviercluster: Geschichte, Theorie und Praxis einer Klanggestalt. Signale aus Köln 9. Münster: LIT Verlag. . (en) [McLaird, John] [1999]. "Synopsis of Twentieth Century Styles and Composers". University of Northern Colorado website . (en) Edwards, J. Michele . "North America since 1920". In Women & Music: A History, second edition, edited by Karin Pendle. Bloomington: Indiana University Press. . (en) Kostka, Stefan M., Dorothy Payne, and Allan Schindler . Tonal Harmony, third edition. New York: McGraw-Hill. . (en) Stockhausen, Karlheinz . "Erfindung und Entdeckung". In his Texte zur Musik 1, edited by Dieter Schnebel, 222–258. DuMont Dokumente. Cologne: Verlag M. DuMont Schauberg. (en) Salzman, Eric . Twentieth-Century Music: An Introduction, third edition. Prentice-Hall History of Music Series. Englewood Cliffs, New Jersey: Prentice-Hall. . (en) |
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| rdfs:comment | Unter Klangkomposition versteht man im engeren Sinne die kompositorische Gestaltung der Struktur von Klängen und Tongemischen mit elektronischen Mitteln. Im weiteren Sinne werden darunter auch verschiedene Formen der Klangflächenkomposition verstanden, die mit konventionellen Instrumenten arbeiten. Als bekannteste Vertreter der Klangkomposition gelten Karlheinz Stockhausen, György Ligeti, Friedrich Cerha und Krzysztof Penderecki. Klangkompositionen standen anfangs in engem Bezug zur Seriellen Musik, von der sie sich später jedoch auch aleatorisch bzw. lösten. (de) La masa de sonido o masa sonora es una textura musical cuya composición, en contraste con otras texturas más tradicionales, «minimiza la importancia de las alturas musicales individuales para preferir la textura, el timbre y la dinámica como principales formadores del gesto y el impacto». (es) 音響作曲法（おんきょうさっきょくほう、独: Klangkomposition）とは、現代音楽において、狭義には電子的手段による音響と合成音の組織、構成による作曲法であると理解されている。広義には、従来の楽器のトーン・クラスターやグリッサンド、特殊奏法による雑音や非楽音などの働きによる音響平面作曲法（独:Klangflächenkomposition）の多様な形態をもまた意味するようになった。 音響作曲の代表者として、カールハインツ・シュトックハウゼン、リゲティ・ジェルジュ、フリードリヒ・ツェルハ、クシシュトフ・ペンデレツキ等がいる。 音響作曲は、最初はセリエル音楽と密接に関係していたが、後に偶然性の音楽やへと解決された。 (ja) In musical composition, a sound mass (also sound collective, sound complex, tone shower, sound crowd, or cloud) is the result of compositional techniques, in which, "the importance of individual pitches", is minimized, "in preference for texture, timbre, and dynamics as primary shapers of gesture and impact", obscuring, "the boundary between sound and noise". (en) |
| rdfs:label | Klangkomposition (de) Masa de sonido (es) 音響作曲法 (ja) Sound mass (en) |
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