пытаюсь слушать Ксенакиса.
Psappha (Edition: Salabert, 1975) is a musical composition for multi-percussion solo by Greek modernist composer Iannis Xenakis. The work does not include specific instrumentation, although the composer calls for three groups of both wood and skins and three groups of metal instruments.[1] The actual printed performance score is written in a unique graph notation and consists of 2,390 segments and presents a greater demand on the performer due to this unique style.
Written for six groups of instruments, three of wood and skins and three of metal,[2] Psappha is sharp, brittle, and even violent at times. This intensely masculine work seems almost in contradiction to its title. The inspiration here, however, manifests not as aesthetic, but as structure. The work's rhythmic structures are derived from small rhythmic cells characteristic of Sappho's poetry. These rhythms pervade the entire work and make both local and large scale appearances. Much of the specifics of instrument choice is left up to the performer: Xenakis writes, "timbre serves only to clarify the rhythmic structures," suggesting the "words" of this poem are only a secondary color to the structures that contain them.
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это я к тому, что без нот нифига не понятно
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Psappha (Edition: Salabert, 1975) is a musical composition for multi-percussion solo by Greek modernist composer Iannis Xenakis. The work does not include specific instrumentation, although the composer calls for three groups of both wood and skins and three groups of metal instruments.[1] The actual printed performance score is written in a unique graph notation and consists of 2,390 segments and presents a greater demand on the performer due to this unique style.
Written for six groups of instruments, three of wood and skins and three of metal,[2] Psappha is sharp, brittle, and even violent at times. This intensely masculine work seems almost in contradiction to its title. The inspiration here, however, manifests not as aesthetic, but as structure. The work's rhythmic structures are derived from small rhythmic cells characteristic of Sappho's poetry. These rhythms pervade the entire work and make both local and large scale appearances. Much of the specifics of instrument choice is left up to the performer: Xenakis writes, "timbre serves only to clarify the rhythmic structures," suggesting the "words" of this poem are only a secondary color to the structures that contain them.
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это я к тому, что без нот нифига не понятно
( Read more... )