Musica che affronta il silenzio - Scritti su Toru Takemitsu - Pavia ...

More documents

Recommendations

Info

Music Facing Up to Silence. Writings on Tru Takemitsu In the second episode, The Woman in the Snow, the performer’s gesture acquires greater importance, once again with a variety of sound typologies. While noises are less apparent from scene to scene compared to the previous episode, the sounds of the flute are more distinct. At the morphological level we have: a. sounds at a determinate pitch with harmonics obtained from the acoustic source: the exasperation of the performer’s gesture gives a highly dramatic content; b. electronic sounds acting as a pedal linking the various objects; c. band of noise filtered between 500 and 2500 Hz with a lot of reverberation creating an abstract setting; d. metallic sounds obtained by elaboration of the material in section a, above all in the upper frequences. Figure 6. Seconde episode of Kwaidan. In dramaturgical terms the various events are superimposed in a very dynamic way. The sounds treated electronically create background and volume while those deriving from instruments produce exasperated sound gestures. The performing mode takes on an over-riding importance in the third episode, Hoichi the Earless: here the sound component is represented by the biwa and the singing voice, with just a few extra noises. Once again the sound of the instrument and voice in the traditional performance is re-elaborated electronically, creating a dialectic between real and re-elaborated sound which injects considerable drama into the musical score. This creates a particular morphological situation: 193
194 Roberto Calabretto a. sounds played on the instrument (‘clean’) (spectrum with harmonics); b. voice; c. singer’s voice elaborated in the lower range; d. sonic sounds obtained from the instrument (‘struck’) (continuous spectrum featuring noise); e. singer’s band with reverberation evoking electronic sonorities. Figura 7. Third episode of Kwaidan. The final build-up of sound events makes a striking and highly emotive impact. Figura 8. Section from left channel at 347-385 seconds.
Page 1 and 2:
Musica che affronta il silenzio Scr
Page 4 and 5:
Università degli Studi di Pavia Mu
Page 6 and 7:
Sommario Prefazione Luciana Pestalo
Page 8 and 9:
Prefazione Alcuni compositori, in t
Page 10 and 11:
Convergenze tra Occidente e Oriente
Page 12 and 13:
Musica che affronta il silenzio. Sc
Page 14 and 15:
Page 16 and 17:
Page 18:
Page 21 and 22:
20 Luciana Galliano assolutamente g
Page 23 and 24:
22 Luciana Galliano dispiegamento d
Page 25 and 26:
24 Luciana Galliano e delle discuss
Page 27 and 28:
26 Luciana Galliano Bibliografia Be
Page 30 and 31:
Tru Takemitsu come mediatore cultur
Page 32 and 33:
Page 34 and 35:
Page 36 and 37:
Page 38 and 39:
Page 40 and 41:
Page 42 and 43:
Page 44 and 45:
Quanto giapponese è stato Takemits
Page 46 and 47:
Page 48 and 49:
Page 50 and 51:
Page 52 and 53:
Natura e arte del silenzio in Tru T
Page 54 and 55:
Page 56 and 57:
Page 58 and 59:
Page 60 and 61:
«Qualcosa di intuitivo»: i rappor
Page 62 and 63:
Page 64 and 65:
Page 66 and 67:
Page 68 and 69:
Page 70 and 71:
Page 72 and 73:
Page 74 and 75:
Page 76 and 77:
Page 78 and 79:
La musica per film di Takemitsu Rob
Page 80 and 81:
Page 82 and 83:
Page 84 and 85:
Page 86 and 87:
Page 88 and 89:
Page 90 and 91:
Page 92 and 93:
Page 94 and 95:
Page 96 and 97:
Page 98 and 99:
Page 100 and 101:
Page 102 and 103:
Page 104:
Music Facing Up to Silence. Writing
Page 107 and 108:
106 Luciana Pestalozza The study da
Page 109 and 110:
108 Gianmario Borio 2. the reciproc
Page 111 and 112:
110 Gianmario Borio structural aspe
Page 113 and 114:
112 Gianmario Borio exclusively on
Page 115 and 116:
114 Gianmario Borio Borio, Gianmari
Page 118 and 119:
Tru Takemitsu’s Aesthetic and Com
Page 120 and 121:
Page 122 and 123:
Page 124 and 125:
Page 126:
Page 129 and 130:
128 Mitsuko Ono They refer to the c
Page 131 and 132:
130 Figure 1. At the Jasper Johns e
Page 133 and 134:
132 Mitsuko Ono Figure 4. Composing
Page 135 and 136:
134 Figure 7. With the clarinet pla
Page 137 and 138:
136 Mitsuko Ono four years of age.
Page 139 and 140:
138 Mitsuko Ono painting and litera
Page 141 and 142:
140 Mitsuko Ono which had a huge in
Page 143 and 144: 142 Mitsuko Ono taught that Japan w
Page 145 and 146: 144 Peter Burt But how did his Fren
Page 147 and 148: 146 Peter Burt Western and Japanese
Page 149 and 150: 148 Peter Burt ‘in no wise someth
Page 151 and 152: 150 Peter Burt ----- (1989), ‘Aft
Page 153 and 154: 152 Giangiorgio Pasqualotto ‘The
Page 155 and 156: 154 Giangiorgio Pasqualotto meet so
Page 157 and 158: 156 Giangiorgio Pasqualotto which e
Page 159 and 160: 158 Giangiorgio Pasqualotto Bibliog
Page 161 and 162: 160 Angela Ida De Benedictis If mus
Page 163 and 164: 162 Angela Ida De Benedictis During
Page 165 and 166: 164 Angela Ida De Benedictis Messia
Page 167 and 168: 166 Angela Ida De Benedictis I have
Page 169 and 170: 168 Angela Ida De Benedictis In muc
Page 171 and 172: 170 Angela Ida De Benedictis letter
Page 173 and 174: 172 Angela Ida De Benedictis 12 th
Page 175 and 176: 174 Angela Ida De Benedictis - Japa
Page 177 and 178: 176 Angela Ida De Benedictis -----
Page 179 and 180: 178 As Takehito Shimazu recalls: Ro
Page 181 and 182: 180 Roberto Calabretto Writings and
Page 183 and 184: 182 Roberto Calabretto Mastering th
Page 185 and 186: 184 Roberto Calabretto In Conversat
Page 187 and 188: 186 Roberto Calabretto contribution
Page 189 and 190: 188 Roberto Calabretto herence of a
Page 191 and 192: 190 Roberto Calabretto SCENE REAL S
Page 193: 192 Figure 5. Section of left chann
Page 197 and 198: 196 Roberto Calabretto standard one
Page 199 and 200: 198 Roberto Calabretto Bresson, Rob
Page 201 and 202: 200 Roberto Calabretto Takemitsu, T
show all

Musica che affronta il silenzio - Scritti su Toru Takemitsu - Pavia ...

Create successful ePaper yourself

Delete template?

Save as template?