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Multiplicity - Fragmentation - Simultaneity: Sound-Space as a Conveyor of Meaning, and Theatrical Roots in Luigi Nono's Early Spatial Practice

Santini, Andrea

Journal of the Royal Musical Association, 2012-01, Vol.137 (1), p.71-106 [Periódico revisado por pares]

Taylor & Francis Group

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  • Título:
    Multiplicity - Fragmentation - Simultaneity: Sound-Space as a Conveyor of Meaning, and Theatrical Roots in Luigi Nono's Early Spatial Practice
  • Autor: Santini, Andrea
  • Assuntos: Audiences ; Composers ; Loudspeakers ; Music composition ; Musical aesthetics ; Musical performance ; Musical register ; Simultaneity ; Sound ; Theater
  • É parte de: Journal of the Royal Musical Association, 2012-01, Vol.137 (1), p.71-106
  • Notas: ObjectType-Article-2
    SourceType-Scholarly Journals-1
    ObjectType-Feature-1
    content type line 23
  • Descrição: Luigi Nono's early spatial works with tape are characterized by strong political commitment as well as by compositional devices and performance solutions that reflect the composer's involvement with technology and theatrical practices after his detachment from Darmstadt in the late 1950s. Looking at the tape works composed between 1961 and 1969, the article outlines the development of Luigi Nono's unique spatial practice, its theatrical influences and the dramaturgical implications. The analysis is centred on the composer's use of acoustic space as a conveyor of meaning designed to stimulate active and critical audience engagement. Particular emphasis is thus placed on the use of tape and amplification in performance, introducing notions such as 'doubling', 'con-fusion', fragmentation, non-linearity, simultaneity and multiplicity, which inform Nono's vision of space and are essential for a serious understanding of the composer's engaged spatial aesthetic.
  • Editor: Taylor & Francis Group
  • Idioma: Inglês
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  • Realização: ABCD-USP USP   Logos de Redes Sociais: Freepik

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