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GABRIELIUS SIMAS SAPIEGA
THE PROBLEM OF TIME AND SPACE TERMS IN GÉRARD GRISEY’S DISCOURSES
GABRIELIUS SIMAS SAPIEGA
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Lithuanian Academy of Music and Theatre gabrielius.sapiega@lmta.lt
Spectralism as a historical movement is generally considered to have begun in France and Germany in the 1970s, precursors to the philosophy and techniques of spectralism, as prizing the nature and properties of sound above all else as an organizing principle for music, go back at least to the early twentieth century.
Controlling the sound parameters in the respective music inevitably becomes an important one of the essential parameters of the organization of music in time – the relationship between space and time. These issues were discussed in Gérard Grisey’s article “Tempus ex machina” in 1980, which is based on Grisey’s earlier 1979 discourse, Réflections sur le temps. Grisey himself states in “Tempus ex machina” that this concept was based on the implications of “primary numbers (Messiaen), the golden ratio (Bartók), the Fibonacci series (Stockhausen), the Newton binomial series (Risset) and <…> kinetic gas theories. (Xenakis)” (Grisey 2018: 62). Examining Grisey’s musical works as well as his writings, we can feel a smooth transition from K. Stockhausen’s “... wie die Zeit vergeht…” (...How Time Passes…, 1957) and P. Boulez’s Penser la musique aujourd’hui (Thinking about music today, 1963) which is not mentioned in the original texts. Such an approach allows a closer look at the processes of organization of sound propagation prevailing in spectral music, complements the theoretical fields of this compositional current and further perspectives from a phenomenological point of view.
An important aspect of significations and their categorization can be realized: what relationship between time and space is meant by certain compositional elements and solutions represented by intended terms? Looking critically at Grisey’s musical texts, we notice the current problem of term significations, which is obvious in the perspective of this time: many of them are not fully explained, and the descriptions themselves are sleek, not specific, perhaps even misleading, without knowing the full genesis of the term. For this reason, it is necessary to identify the field of significance of the relevant terms, to typologize it as an appropriate method of cognition.
Keywords: spectral music, time, space, typology, signification.
Gabrielius Simas Sapiega (b. 1990) is currently studying at the Lithuanian Academy of Music and Theatre for an artistic doctorate under Prof. Habil. Dr. Gražina Daunoravičienė (LMTA) and Prof. Stefano Gervasoni (CNSMDP). He deepened his knowledge of musicology in France (the Conservatoire de Lyon), and of philosophy in Israel (the University of Jerusalem). He studied with Raminta Šerkšnytė for his Bachelor of Music Composition and continued his master’s studies with Mārtiņš Viļums. Sapiega composes instrumental music of various kinds and regularly participates in composition master classes and music festivals. His works have been performed in countries such as Lithuania, France, the Czech Republic, Austria, and Estonia, as well as broadcasted and recorded for the UK’s BBC 3 radio.
THE SYSTEMATIZATION OF PIANO PIECES WHICH EMPLOY “EXTENDED TECHNIQUES”
(BASED ON EXAMPLES OF SOLO WORKS BY UKRAINIAN COMPOSERS OF THE SECOND HALF OF THE TWENTIETH TO EARLY TWENTY-FIRST CENTURY) ANASTASIIA SHARINA
Tchaikovsky National Music Academy of Ukraine anastasia13conpassione@gmail.com
At the beginning of the twentieth century, a new phenomenon in the field of art music was the introduction of “extended techniques.” The main aim is to consider the “extended piano techniques” and to create a new classification.
Research background. The analysis of scientific works shows a considerable number of different classifications (Ishii Reiko, Jean-François Proulx, Luk Vaes, etc.). The methodology of the research includes historical, systematic, and performance analysis.
Results. This research focuses on the study of solo piano pieces by Ukrainian composers. My classification offers a new idea for considering “extended piano techniques.” First, I come from a work that involves such playing methods. An attempt is made to classify these techniques not as a separate phenomenon, but as directly living within one work. Works for piano solo may be systematized by three features: 1. the number of techniques: • use of one or two methods (“Euphoria” by V. Kyianytsia); • use of the complex methods (“Greetings M.K.” by V. Runchak); 2. the degree of use: • “extended techniques” are used only partially, whilst “traditional piano techniques” prevail (Romantic elegue for home music-making/ Piano Sonata No. 2: “When tired heart” by I. Shcherbakov); • “traditional” and “extended piano” methods are used on equal terms in percentage and functional ratio (“Aqua Sonare” by A. Korsun); • piano works are entirely based on the extended techniques (“De(zember)” by A. Kobzar). 3. by the number of performers: • only soloist (“That’s it!” by S. Zazhytko); • soloist and assistant (Piano Sonata No. 3: “AER” by V. Tsanko).
Conclusions. The analysis of piano works by Ukrainian composers demonstrates their creative achievement in many genres, various imaginative areas that convey the character of the works which are aimed at discovering new emotional areas, as well as acquiring a fundamentally new listening experience.
Keywords: “extended piano techniques”, solo piano pieces, Ukrainian composers of the second half of the 20th–early 21st century, the classification.
Anastasiia Sharina is a postgraduate student of Petro Tchaikovsky National Music Academy of Ukraine. Her research interests include contemporary art music, extended piano techniques, Ukrainian music of the second half of the twentieth and early twenty-first century. Her study Extended techniques in music for piano solo by Kyiv school composers (using glissando as an example in “Aqua Sonare” by A. Korsun) was awarded the first prize at the Ukrainian competition of student scholarly works on musical art and cultural studies” (2018, Kyiv). She is the author of three articles and has taken part in many scholarly conferences both in Ukraine and Europe.
OLGA SOLOMONOVA
Ukrainian National Tchaikovsky Academy of Music solo55mono@gmail.com
This systematic approach analyzes musical texts which have clear textual address and enhance the semantic density of music to contribute to interpreting the mechanisms of a composer’s creative activities. The analysis of such texts has already been carried out earlier. The novelty is to outline a systematic view on such phenomena and attempt to come to a consensus on their naming and the methodology of their analysis. The first step is to suggest a general definition of such textual phenomena as associative musical text (AMT).
The purpose of the work is to set out the concept of AMT.
Tasks: • put together texts which bear the memory of other specific texts under the AMT category; • define the AMT concept and to discuss how to use it; • classify associative texts and to make the AMT concept broader by including phenomena where a disbalance between genre “supply” and “demand” exists; • propose a methodology for the AMT analysis; • present of algorithm of how AMT works using a musical parody as an example.
Methodology
The AMT analysis is made in three stages: 1. Identify the prototype and its constant features. 2. Determine prototype transformation by comparing the virtual and real co-texts. 3. Analyze the mechanisms of dealing with original source.
Outcome and conclusions. Definition and analytical motivation of AMT are proposed. It is revealed that the AMT’s purpose is to establish a dialogue within “composer-performer-listener” communication. The AMT’s systemic signs are determined, including: a) the intertextual connections providing figurative and intonational parallels at intertextual or intermediate level; b) two-layered compositional basis of AMT that simultaneously exhibits a vir-
tual prototype and a real text. It was also revealed that all AMT types are often in a transitional state despite their uniqueness.
Keywords: associative musical text, typology, virtual and real texts.
Olga Solomonova graduated from Kiev’s Tchaikovsky National Music Academy in 1978, specializing in musicology and theory of music (BMus). Then she earned her Dr. phil. degree in 1987 with the dissertation The art of Skomorochs in a context of native musical culture, followed by her dr. hab. dissertation The World of Laughter in Russian Musical Classics in 2008.
Solomonova is a professor of Tchaikovsky at NMAU and teaches history of music, theory of music parody, and music criticism at the History of World Music Department as well as supervises bachelor’s, master’s, and doctoral research. She also teaches various music disciplines like solfeggio, harmony, music theory, and polyphony at Kiev’s Academy of Art.
Solomonova has authored more than 100 articles. Her professional interests include the musical laughter, the theory of music parody, music of composers of the nineteenth and twentieth centuries, the culture of totalitarian epochs, the genre system in music art, and the semantics and hermeneutics of music.
ORCID: https://orcid.org/0000-0002-3058-425X
THE PAST AND THE FUTURE OF GREEK POPULAR SONG: FROM THE REBETIKON TO THE GREEK TRAP?!
KALLIOPI STIGA
High-School of Neo Faliron kallistiga@yahoo.gr
Composers, musicologists, and sociologists, among others, have long been trying to define the boundary between savant music and popular music (or Musiques Actuelles). In the case of Greece, as Greek popular music is defined the “music of the city” (αστική), opposed to the demotic music which is identified to the “music of the province.” Greek popular music comprises, among others: the rebetikon song, the erotic-humoristic-satirical songs by Attic, the “songs of wine and taverna,” the songs of the Resistance, the political song, the savant-popular music, the new wave song, and the dog’s songs (σκυλάδικα). The last 30 years, Greek rap and recently the Greek trap have a lot of success with the young generations in particular.
The aim of this paper is, first, to examine the music-poetic characteristics of these completely different categories of Greek popular song and to propose some new criteria of typologization.
Keywords: sociopolitical context, music-poetical analysis, rebetikon song, savant-popular music, Greek trap.
Kalliopi Stiga, born in Athens, Greece, studied piano in the Conservatory of Athens and musicology at the Ionian University of Corfu in Greece, the Université de Paris IV-Sorbonne in France, and the Université Lumière- Lyon II in France, taking a diploma, D.E.A., and PhD in Literature and Arts respectively. In 2010, she was qualified as a Maître de Conférences by the French National Council of Universities (CNU).
Since September 1998, she has been an established music teacher in Greece. She has worked in the Department of Musicology in the University of Athens (2007–2010) and in the Department of Primary Level Education of the Democritus University of Thrace (2010). Her research interests are in the fields of sociology of music and of history of Greek contemporary popular music.
A PROBLEM OF TYPOLOGIZATION OF TEXTURES IN CONTEMPORARY ART MUSIC: THE POST-SOVIET CASE
IRYNA TUKOVA
Petro Tchaikovsky National Music Academy of Ukraine tukova@ukr.net
Contemporary art music presents a multiplicity of complex methods of work with sounds, their combinations, and the methods of their organization. Such situation creates numerous problems with typologization of musical compositions at different levels (from genre to language). At the same time, the difficulties of musicological research are added by the presence of diversity of methods, tools, and definitions that have been formed by different musicological schools and very often aren’t correlated with each other. This problematic situation formed the main idea of my presentation. The idea is the characterization traditional for the musicology of Post-Soviet countries’ (for example, Ukraine’s, Belarus’s, and Russia’s) approaches to understanding musical texture phenomenon, its kinds, types etc. To arrive at a solution to this problem, works by Valentina Kholopova, Tatiana Bershdskaya, Marina Skrebkova-Filatova, Aleksandr Maklygin, and Irina Snitkova are examined. The phenomenon of “sonoristic compositional technique,” very specific for Post-Soviet musicology, is considered in the context of approaches to the texture in contemporary art music. The correlation of the terminology in English and Russian is proposed, for example, texture categories and texture types (“склад” in Russian).
On the basis of composers’ practice of the second part of the twentieth and early twenty-first century, it is proposed to add a fourth element to the three existing texture categories/texture types (monophonic, homophonic, contrapuntal): the macrophonic. This texture category is based on the principle of sound mass and includes cluster and micropolyphonic (imitative and free) kinds. It is coordinated with some of the techniques which A. Maklygin attributes to “sonoristic compositional technique.” The kinds of macrophonic texture category are demonstrated in works by Ukrainian composers (Svyatoslav Lunyov, Maxim Shalygin).
Keywords: contemporary art music, texture, Post-Soviet musicology, sound mass, texture category / texture type.
Iryna Tukova, PhD, is an associate professor in the Theory of Music Department of Petro Tchaikovsky National Music Academy of Ukraine in Kyiv. She has taken part in conferences in Ukraine, Germany, Lithuania, and Russia and given lectures about contemporary art and Ukrainian music at Ljubljana Academy of Music in Slovenia. Her areas of scientific interest are theory of musical genre, the history of theoretical musicology, techniques of composition in contemporary art music, and problems of the interaction of natural science and art music in modern and contemporary times. She is the author of more than 40 articles.
THE COMPOSING PROCESS: THEORIES OF ANALYTICAL STRATEGIES AND COMBINATIONAL PERSPECTIVES IN CLASSIFICATION
JURGITA VALČIKAITĖ-ŠIDLAUSKIENĖ
Lithuanian Culture Research Institute jurgitavalcikaite@gmail.com
In 1713, Johann Mattheson, in his book Das neu-eröffnete Orchester, presented the first structural model of music composition. In 1787 Heinrich Christoph Koch, in his Versuch einer Anleitung zur Composition, offered a theory based on the laws of rhetoric presented by Matthesson, which brought it closer to music and developed teaching on aspects of the work-states and the process of composition. Their theories laid the foundation for further research into the creative process and raised fundamental categories in music and related phenomena. However, musical creation is a complicated process to define, which still lacks precise signification results, and their categorization creates a problematic field of research that is still difficult to unravel.
In the twentieth century, creativity and the creative process attracted the attention of psychologists, researchers of human behavior (Wall, 1926; Rosmann, 1931; Koberg/Bagnall, 1981; Barron, 1988, and so forth), which introduced some fundamental, mostly similar theories. Most of them were formed based on general ideas and research of creative thinking and psychology. Since creation directly depends on the creator’s individuality, not all declarable models of creativity can be applied in their original form, especially based on the logic of the phases (stages) of the creative process envisaged by the author of the chosen specific theory. Nevertheless, more detailed studies of theories allow us to notice their common denominators and supplements, the combinations of which allow to identify in the horizontal of the composing process the phases directly related to the analyzed work of the selected composer.
This paper focuses on the essential theories of creativity and the creative process of the last century in order to conceptualize the phases of the different stages of the creative process, classify their significations and evaluate their implication opportunities in developing research into the music creation process.
Keywords: music, creativity, process, composing stages, sketches.
Jurgita Valčikaitė-Šidlauskienė (b. 1993), 2012 graduated from Šiauliai Saulius Sondeckis Arts Gymnasium. In 2016 she obtained a bachelor’s degree in music theory and criticism at the Lithuanian Academy of Music and Theater, and in 2018 her master’s degree. From 2020, she has been studying in the joint doctoral program in art history of the Lithuanian Culture Research Institute, the Lithuanian Academy of Music and Theater, and the Vilnius Academy of Arts. Her research interest is the process of composing music.
Valčikaitė-Šidlauskienė pays significant attention to music criticism. She has published over 40 reviews, reviews of music publications, and articles, and she has also prepared a monograph on the Lithuanian opera soloist Nijolė Ambrazaitytė (Nijolė Ambrazaitytė. An Extraordinary Voice, Lithuanian Independence Act Signatories Club, 2018).
STORYTELLING IN INSTRUMENTAL MUSIC – CLAUDE DEBUSSY’S BALLADE
TIJANA VUKOSAVLJEVIĆ
University of Arts in Belgrade, Serbia tijana.muz@gmail.com
Finding and defining meaning in music is always a current and challenging research question. Looking back at the history of such classifications and foreseeing the need to rethink them, for this paper I chose the form of the ballad. Starting from the original appearance of the ballad, which was a song with a dance, all the way to the formation of the instrumental ballad in art music, we find that the ballad should be understood as a process of thought, rather than as a closed unit. A ballad understood as a story or “story within a story” indicates a certain fragmentation of this form. Thus, the ballad principle of building the form of a work is on the one hand free and fragmentary, but on the other hand it is conditioned by the story itself. Recognizing the meaning is far easier if it is a form of ballad that also contains a literary text. Nevertheless, the instrumental ballad also has its meaning, which we can set on the basis of musical parameters (melody, harmony, form, rhythm). As Impressionism is known for its short fragmentary units created as a result of immediate impressions, the analysis of Claude Debussy’s Ballade served as a suitable example to illustrate the ballad principle of thought in music (much like a narration). I will present the main actors (themes or motifs) who, through mutual interaction, form four stories (or four parts of the same story) in Debussy’s Ballade. The existence of agogic and dynamic labels adds a fine note of narration that would be appropriate even if this was told in speech, not music.
Key words: ballad, Debussy, music form, impressionism in music, meaning in music.
Tijana Vukosavljević is a PhD student of music theory at the Faculty of Music in Belgrade. She received her specialization degree with the thesis Activity of Tonal Dynamics in the Music of Maurice Ravel. She participated in annual meetings of students of music theory in 2017 and 2018, as well as in the 20th Pedagogical Forum of Performing Arts in Belgrade and 13th Biennial International Conference on Music Theory and Analysis in Belgrade in 2019. She was a member of the organizing committee at the First International Conference of Psychology and Music – Interdisciplinary Encounters.
EINE BEGRIFFSSUCHE ZUR TYPOLOGIE DER OPERNPROJEKTE IN DER GEGENWART
ADELINA YEFIMENKO
Lviv National Lysenko Music Academy / Munich Ukrainian Free University musikwiss@t-online.de
Die neuen Inszenierungen im Opernbetrieb weisen auf ein Umdenken der Gattung Oper hin. Eine diffuse Grenze zwischen Regieoper und Postoper ermahnt die Musikwissenschaftler, diese Phänomene nicht der Gattung Oper einzuordnen. Richard Wagner weigerte sich, seine musikalischen Dramen als Opern zu benennen. Aber es stellt sich heraus, dass der Begriff “Oper” momentan eine Renaissance erlebt, denn viele Artefakte, die ein Gemenge von einerseits Symphonieorchester, elektronischer und U-Musik, andererseits Filmclips, Vision-Art, Fashion-Design, in Verbindung bringen, werden mit dem Begriff “Oper” bezeichnet. Die Dominanz der Regieoper treibt die zeitgenössischen Komponisten dazu an, den alternativen Begriff “Postopera” zu erfinden. Und mittlerweile wird das Interesse der Musikwissenschaft daran erweckt, wie die Beispiele belegen: H. Lehmann: Postdramatisches Theater. Je. Novak: Postopera: Reinventing the Voice-Body. Eine Begriffsbestimmung, die alle Merkmale berücksichtigt, ist noch nicht möglich. Aber eine Typologie exemplarischer Beispiele der neuen musik-theatralischen Artefakte ist inhaltlich und methodologisch durchführbar (was das Ziel meiner Abhandlungen ist). Auf dem Weg vielseitiger Auseinandersetzungen stellt sich neben operntextbezogenen Zugängen die Frage nach der methodischen Ausrichtung von Aufführungsanalysen, die die subjektive Wahrnehmung des Wissenschaftlers als Rezipienten einschließt. Das äußert sich auch dahingehend, dass sich die Musikwissenschaft dem Appel der zu erforschenden Live-Ereignisse zuwenden müsste, die eine Vision kreieren, es gäbe eine “Idee der Oper”, die die gesamtkunstwerklichen, sozialpolitischen und technologischen Voraussetzungen erfüllt.
Das Resultat der Aufführungsanalysen lässt Typen von Artefakten erwarten, die sich als Oper anbieten, gleichfalls jedoch die Gattung negieren. Interessant dabei ist, dass diese Negation im Sinne der “doppelten Negation” erscheint. Es wurde festgestellt, dass der Begriff „Oper“ als Werkzeug sowie “opera aperta” (U. Eco, Das offene Kunstwerk) in performativen Praktiken verwendet wird, um die Bedeutung des einzelnen Gesamtkunstwerkes emporzuheben. Die Postoper dient somit nicht mehr als Gattung, sondern als ein Impetus, Impuls, Code, Symbol, Zitat, Re-Post und eine neue Vorahnung über Das Kunstwerk der Zukunft.
Keywords: Gattung Oper, Regieoper, Postoper, Idee der Oper.
Adelina Yefimenko. Musikwissenschaftlerin, Promotion 1996, Habilitation 2011, 2013 erhielt sie den Professorentitel. Sie lehrt an der Lviv National Music Academy Lemberg und an der Ukrainischen Freien Universität München. Schwerpunkte und Lehrveranstaltungen: Zeitgenössische Regieoper, Musica Sacra im 20. Jahrhundert. Fr. Yefimenko ist die Preisträgerin der Strawinsky-Kulturpreises, DAAD- und KAAD-Stipendiatin, Autorin von sieben Monographien und über 500 Aufsätzen, Buch-Anleitungen u.a. Sie ist Mitglied der Nationalen Gesellschaft der Komponisten, der Galician Music Society, der RichardWagner-Gesellschaft, der Deutschen Gesellschaft für Musikforschung und der Deutschen Schostakowitsch Gesellschaft. Als Opernexpertin schreibt sie über neue Inszenierungen an europäischen Opernhäusern und Musik-Festivals (Bayreuther Festspiele, Salzburger Festspiele, Händel-Festspiele Karlsruhe, Rossini-Festival in Pesaro u.a.). ORCID iD: https:/ orcid.org/0000-0002-4278-5016
TYPOLOGY OF MODERN BALLET
VERONIKA ZINCHENKO
Ukrainian National Tchaikovsky Academy of Music veronika-music@ukr.net
Ballet is a popular genre of the twenty-first century. Despite the uniqueness of each ballet performance, we can identify common features and develop a typology of the ballet genre, which will differentiate the processes and make generalizations on the scale of all modern ballet.
The purpose of the study is to create a typology of modern ballet.
Taking into account the experience of previous researchers (V. Kholopova, M. Zagaykevych, D. Sharykov, N. Terentyeva, etc.), a typology of ballet based on the following criteria is proposed: 1. The genesis of the musical component, which allows to differentiate three models: - primary ballet music, created specifically for ballet; - secondary ballet, which uses existing opuses (both ballet and nonballet); - a synthetic model that combines existing and specially written music. 2. Approach to the sound design of musical matter, the actual instrumentation – instrumental, vocal-instrumental, vocal-choral, electronic music, and synthetic version with the involvement of different types. 3. Structural-scale criterion by which we distinguish a large ballet and chamber – entire or suite type. 4. Ethnic specificity of ballet, which allows us to divide ballets into non-ethnic ballets and those with a pronounced ethnicity. 5. Genre definition: ballet, opera-ballet, symphony-ballet, cantata-ballet, oratorio-ballet, and dance performance. 6. The presence or absence of a story line. 7. Ballet vocabulary: folk, classical-romantic and modern. 8. Types of scenography: detailed (classical-plot), abstract and combined. 8. Focus on the audience age group: children’s ballet, adult ballet, family ballet.
The proposed typology allows us to identify and systematize the common features of the modern process of development of the ballet genre, to comprehend the variety of approaches to the creation of ballet performances.
Keywords: ballet, typology, modern art, ballet music.
Veronika Zinchenko is a Ukrainian musicologist and a music and theater critic. She holds a junior specialist of musicology degree from the Kyiv Municipal R. Glier Academy of Music (2014), a bachelor’s degree (2019) and a master’s degree in musicology from the Ukrainian National Tchaikovsky Academy of Music (2020), and a master’s degree in theater criticism from the Kyiv National I. K. Karpenko-Kary Theatre, Cinema and Television University (2020). Now she is getting her PhD in Musicology from the Ukrainian National Tchaikovsky Academy of Music.
Zinchenko is a teacher of theoretical disciplines at Kyiv State D. Shostakovich Music School No. 4 and a methodologist of the highest category at the State Scientific and Methodological Center for the content and quality of cultural and artistic education.
More information available at https://orcid.org/0000-0001-8607-3582
SIGNIFICATION OF MUSICAL VARIABLES AS A PATTERN OF “STATE OF BEING AESTHETICS”: THE PROBLEM OF MUSICAL TEXTURE
VILTĖ ŽAKEVIČIŪTĖ
Lithuanian Academy of Music and Theatre viltezak@gmail.com
“It is possible to imagine music without harmony, but it is difficult to imagine sounded music which would be devoid of texture” (Huron, 1989: 131). When we try to ponder upon our recent past retrospectively and think about the twentieth century, the issue of the dominance of musical texture expression as a principle of structuring remains particularly significant for the composers of the twenty-first century. Is it possible for the contemporary artist to be original and unique, especially when “Modernity is the challenge of the infinite within the capacities of the present” (Harper, 2011: 5)? We can imagine that “being unique and up-to-date” is determined by a composer’s decision to creatively use different patterns in musical structure and choose a particular aesthetics in composing music. Regarding Adam Harper, to find a more reasonable fundamental creative condition of composition, we need to look for a possibility to express the power while manipulating the sound by grasping the specific attributes of any sound based on the ways in which it varies. The result – unique expression of musical texture. Music, according to Harper, is a “complex system of variables relating primarily of the production of sound,” so musical variables are subjects creating and forming that particular musical system. It is recognizable that Lithuanian composers of the twenty-first century can be identified by the particular “state of being” aesthetics. Their music seems to be quite melancholic, subtle, contemplative, rich of consonance, with a slow and calm change. The main aim of this paper is to analyze contemporary Lithuanian composers’ pieces to look for appropriate musical variables on which musical texture might depend and to ponder upon the ability to classify it.
Keywords: musical texture, musical variables, 21st-century Lithuanian composers, classification, signification.
Viltė Žakevičiūtė (b. 1995) is currently undergoing her artistic doctorate studies at the Lithuanian Academy of Music and Theatre. She is exploring a theoretical study about the musical texture of Lithuanian composers of the twenty-first century. Her works feature musical tokens representing different epochs and are meant to convey the subtlety and personal existential experience. By following the concept of beauty in associative music, she supplements rational music-making with extremely precise methods of expression. Viltė’s music is performed at various concerts and festivals. Her “The Secret of Magnolia Bloom” was nominated in 2019 for the International Rostrum of Composers.
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Typologies of Music Signification: Retrospective and Perspective. Book of Abstracts. Editor: Lina Navickaitė-Martinelli. – Vilnius: Lithuanian Academy of Music and Theatre, Lithuanian Composers’ Union, 2021. – 72 pages. ISBN 978-609-8071-60-3
The Book of Abstracts features the texts for the international conference “Typologies of Music Signification: Retrospective and Perspective”, held on October 21–23, 2021, in Vilnius, Lithuania. Musical signification, as any other issue related to the meaning in music, has constantly been an object of interest for musicologists, composers, semioticians, and philosophers, often in an attempt to classify and categorize it. Looking back at the history of such classifications and foreseeing the need to rethink them, the theme of this conference is dedicated to the theoretical and practical discourses dealing with the interrelations between musical signification and a variety of typologies.
The conference seeks to reinvigorate the approach to the concepts, terms, and categories employed in the process of music signification as well as attempts to conceptualize the practices of classification of musical phenomena. Scholars, in their papers, tackle this task from a variety of perspectives: they discuss them as problems of research philosophy, raise the question of criteria, present individual approaches, analyze historical or current cases, and present the perspectives of systematization.
TYPOLOGIES OF MUSIC SIGNIFICATION: RETROSPECTIVE AND PERSPECTIVE
BOOK OF ABSTRACTS Edited by Lina Navickaitė-Martinelli English language editing: Kerry Kubilius Layout: Rokas Gelažius
Printed by UAB Baltijos kopija
