The relation of language to materials
DOI:
https://doi.org/10.35699/2317-6377.2003.55893Keywords:
electroacoustic music, twentieth-century music, musical composition, mimesisAbstract
Instead of the traditional and incomplete opposition between concrete and electronic sounds, the author proposes two focal points to analyze electroacoustic music: one is related to the discourse, and the other, to musical syntax. The discourse may vary between the extremes, characterized as aural and mimetic, depending on the degree of reference to events that occur in reality or are related to more abstract musical values. The syntax, in its turn, may be abstract (imposed upon the materials) or deduced from them (abstracted). The crossing of these two focal points - each one represented by the two extreme positions and an intermediary one-generates nine case studies. At least one important work from the electroacoustic repertory is analyzed in each case.
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