Preface to Gesprochene Musik, 1. "O-a" and 2. "Ta-tam"
From the vantage point of nearly a century later, Gesprochene Musik is revealed as anticipating or converging with many later developments: a whole wing of vocal music devoted to playing with language beyond words, whose most salient American exponent has long been Meredith Monk (scores by Cage and...
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Veröffentlicht in: | Current musicology 2014-03 (97), p.61-68 |
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Format: | Artikel |
Sprache: | eng |
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Zusammenfassung: | From the vantage point of nearly a century later, Gesprochene Musik is revealed as anticipating or converging with many later developments: a whole wing of vocal music devoted to playing with language beyond words, whose most salient American exponent has long been Meredith Monk (scores by Cage and Stockhausen also come to mind); popular forms that emphasize rhythmical speech over singing, such as word jazz, Jamaican dancehall, and rap/hip-hop; sampling, looping, morphing, and other technological manipulations of music that are particularly applied to the recorded voice; as well as a distinctive strain of modernist humor (think P. D. Q. Bach). [...]I thank Carmel Raz for introducing me to recent scholarship, including her own, that illuminates this score, and for her assistance in the final proofreading and correction of this edition. |
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ISSN: | 0011-3735 2640-883X 0011-3735 |
DOI: | 10.7916/cm.v0i97.5324 |