Subject: Re: International/national styles?
From: Kevin Austin (firstname.lastname@example.org)
Date: Mon Jul 26 2004 - 22:09:14 EDT
Many subtle very interesting points.
I have only heard Nancorrow in an electroacoustic context, first via
LP in the 70s, and now on the Wergo compilation. He lived in Mexico
and his work traveled via electroacoustics.
>>I would propose that a first step would be to place the term
>>'national' in some form of (socio-historical / geographical)
>>context. An example right off would be Conlon Nancarrow (Mexico).
>>Is this 'mexican', American (of the USA), western, or international.
>Err...I was referring to ea/cm, not to instrumental music ... of the
>sort that Nancarrow created.
Before KS did Kontakte, were the sounds / formal principles german?
or do they become german because it was KS who used them?
I would propose for consideration the "Englishness" of Elgar whose
language was that of extended Brahms and orchestral sensibilities
were teutonic, (even acknowledged as such by Strauss), but the Pomp
and Circumstance (or the Cello Concerto) speak with a particularly
curious english dialect.
What would give Kontakte (and its numerous non-germanic followers)
>>Stockhausen -- do the early Studies sound 'german' for any reason
>>other than the technology existed in Germany at the time. I have
>>always heard a great deal of Morton Feldman and Earle Brown in
>>these pieces; Gesang has german text while using a melange of the
>>internationalism of serial / total serialization / post serial
>>(austrian / french).
>You're right, but there are plenty more examples such as Kontakte
>that later established Stockhausen's credentials and the German-ness
>of his style.
>>To modify the european sense of a 'national style', does 17th
>>century Polish music sound so different from italo/german of the
>Again, I was referring to ea/cm only.
The concept of national identity expressed through art could be
understood as a historical model, of which the question regarding ea
is a 20th century extension. I feel that it is important not to
orphan the concept from its context and precedents.
Is there something notably American about Paul Lansky's "Chatter"
series, which I find strongly reminiscent of (forebear!) Kraftwerk,
with granular technology. Does granular technology have a
particularly 'national' origin / signature?
Also in these works, one may trace the return (sic) of neo-tonality,
and the central role of pitch as an organizational principle -- but
this is also true of Dripsody.
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