![]() A short look at marginal culture of composers, who worked in microtonal field, shows some conclusions and reflections on microtonal composers’ destiny and results of their work. Author introduces basic and applied features with succeeding subdivisions. The key part of the paper proposes the classification of existing works by systems used in the works. The next observation includes analysis of auditory sensations evolution and physical processes accompanying the century of innovation. ![]() Discussing the phenomenon of microtonal music as a whole, it is necessary to analyze the numerous prerequisites for the idea of splitting sound into micro-components at the beginning of the 20th century, to reveal the general cultural and social processes that have become the impetus for its development and dissemination, and, finally, to pay attention to the parallel experiences of splitting the whole into parts in the second part of the paper. Terminological overview includes discussions on the unification of a joint notion, observing such conceptions as xenharmony, ekmelic, super-chromatic or ultrachromatic, microdimensional, microchromatic and microtonal music. This allowed uniting major centers of microtonal music together and analyzing it in general context. The research was carried out in Russia, UK, France, Germany and Czech Republic in archives of microtonal leaders. During this observation and analysis I establish forgotten works and names, less known scores. Based on research of new techniques, it revives hidden layouts of the course of late 19th - early 20th century music development. This paper discloses a study on microtonal music and its phenomenon is different musical spheres. After WW2, active members of the chapter, such as the composers Jeronimas Kačinskas, Vytautas Bacevičius, Vladas Jakubėnas, and others ended in emigration to the USA. As early as 1940, Soviet occupation terminated the activities of the said organisation, as well as of numerous other artistic and cultural societies of independent Lithuania. For decades, the fact of Lithuanian composers’ participation in the International Society for Contemporary Music (ISCM) in the period from 1936 to 1939 kept providing an influential story that consolidated the self-awareness of the involvement of modern Lithuanian music in the European music modernisation processes. The Lithuanian Section of the International Society for Contemporary Music which functioned for only a short 4-year period (1936–1939) can be attributed to typical organisations of small countries stimulated by an international movement of modern music. In the said context not only the artistic, but also the political contexts of the Society activity are important. With the aim of including the modern music movements in Kaunas and Vilnius in the international context, this book presents a critical review of ISCM strategies and a history of festivals in the interwar and early Cold War periods. The subject of the present book is the activity of the Lithuanian Section of the ISCM, its pre-history (1936–1939) and reception, as well as the history of the Vilnius Chapter of the Polish Section of the ISCM (later renamed the Polish Society for Contemporary Music) which is seen as integral part of the modernisation of Lithuanian and international musical culture. Tarptautinė šiuolaikinės muzikos draugija ir muzikinio modernizmo sklaida Lietuvoje" (VDA, 2015). ![]() English summary of the book "Modernumo lygtys. ![]()
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