INTRO: THE ROOTS MUSIC Electronic. From Schönberg to SERIAL. A METHOD TO EXPRESSIONS OF 'DISSONANCE'. article " avant-garde and" popular "electronic music, new technology and the redefinition of expressive languages \u200b\u200b" has already been outlined a process that began with the avant-garde and the Cultural Revolution, the birth of a new musical taste, a different conception of harmony, the sound of the Agreement, the noise. The path of electronic music in fact begins at that time called the "emancipation of dissonance." More precisely, when the dissonance space gain for the first time the composition and the tonal system undergoes a major revolution, by Stravinsky, Schoenberg, Alban Berg, the theoretical and pragmatic application of Theodor Adorno strictly "serial" by Anton Webern by John Cage and Karlheinz Stockhausen. What unites the path of the avant-garde, then, is the systematic progression in a rigid-framed method of composition-of dissonance in the composition. This experience of "borderline" marked a profound break with the old musical approach, marking a point of no return with respect to the late-romanticism. At stesso tempo ha dato inizio ad un percorso che arriva fino alle più complesse esperienze musicali contemporanee. E' innegabile che l'electronica moderna, dalle manifestazioni più sintetiche fino al noise, l'harsh, l'avantgarde, il glitch, non esisterebbe senza quel percorso sistematico di 'emancipazione della dissonanza'. Un frammento di questo percorso che ha inciso e scolpito un nuovo, rivoluzionario gusto estetico, fino alla moderna concezione dell'ettronica, è rappresentato dal 'metodo' schoenberghiano, dal sistema atonale -meglio definito pantonale- fino alle estreme conseguenze nella musica di Webern e la musica seriale. Una parentesi: la principale critica mossa alla sperimentazione musicale avanguardista che andava profondamente recording, departing from the common taste, inextricably tied to the tonal system, was to create a rift exists between "cultured" music and music "popular" - While seemingly denying those socio-political conditions that often moves in the major figures behind the theory, the 'assimilation of a piece of atonal, in fact, can not leave a Acquaintances of the system and said method including music theory, noting that inexorably away from listening intrattenitivo mass of easy listening and linked to the tonal system. The story seems to have responded to such criticism: whatever theoretical developments and / or practice does not stop on the grounds, social, cultural, historical, political, religious and so on; demonstrated by the fact that today would not exist much of electronic music as we know it.
pantonal '& TWELVE-TONE TECHNIQUE. defining the end point of exhaustion of the possibilities of tonality, Schoenberg used the term "pantonal" and clarify the misunderstanding related to the terminology of music systems:
"Furthermore we have not discussed the question whether the way in which new sounds are connected does not constitute precisely the shade of a series of twelve tones. In fact, it probably is and we are in a similar situation CREATED that by the time they used the church tone. In this regard, I note that felt, then, the effect of a keynote , but no one knew who he was and is felt by all. You do not hear, but nevertheless it is likely that there . If you really looking for titles, or could be used polytonal pantonal. But anyway you should determine if this is still just a shade "[Schoenberg, 'Manual of Harmony'. Vienna 1921]
In 1923, with 'Komposition mit Tonen 12' ('Composition with 12-note' ), defines the Schoenberg twelve-tone technique of composition of , che lontano dall'essere un momento di rottura con il passato, ne anzi raccoglie la tradizione inserendosi in un territorio di gusto contemporaneo (la nuova musica espressionista). Sia Schönberg che Webern infatti, utilizzarono tale metodo insieme a forme e schemi propri della tradizione classica- l'ultimo attuando 'il metodo' in maniera ferrea, senza lasciare spazio ad elementi fuori dallo schema seriale . Le prime composizioni basate parzialmente sul metodo dei dodici toni furono la n.5, "Pezzi per pianoforte op. 23" e la "Serenata op. 24 per 7 strumenti" di Schönberg, mentre un utilizzo completo si ebbe in "Suite op. 25 per pianoforte" , arrivando addirittura al concepimento an entire twelve-tone opera: "M OSes und Aron" (1930-1932), remained unfinished. Overall, the twelve-tone compositions by Schoenberg were many, but it is important to note that in general his serial technique was never too hard, leading to subsequent evolution entirely unexpected method. In this sense, for the same twelve-tone Schoenberg's pupils was addressed in a very personal way: Alban Berg, as the teacher, used the method quite freely, instead Anton Webern was always tended to use serial techniques of iron , leading to an evolution of the twelve-tone with the birth of "integral serialism" , where series are produced not only using the pitch as well as other musical parameters such as duration and pitch. " Webern was taken as a reference point for many subsequent generations of composers, headed by Pierre Boulez and Olivier Messiaen , interested in the development of the series. It developed a music serial or serial to full cry "Schoenberg is dead" (title of an article by Pierre Boulez).
"EMANCIPATION OF DISSONANCE", "SERIAL FULL" AND "SKETCHES dissonant OF METAELETTRONICA. "The emancipation of dissonance" marks a time when developments in composition between the first half of the '800 and '900, when essential for future outcomes of the current approach to electronic music and noise (noise) . Certainly not the time today to listen to an album or Merzbow Converter is even more inconceivable than it already is for some people-as they say, "settled precedents". And that before! The trend of a gradual expansion of the use of dissonance was a trend of heterogeneity, by
"Richard Wagner , Richard Strauss, Alexander Scriabin , Claude Debussy, Maurice Ravel , Béla Bartók to Igor Stravinsky , Ferruccio Busoni , over the same Schoenberg, and involved a gradual thickening of harmonic texture, with the use of increasingly dense. From agreements thirteenth , where the seven notes of colors are all present, is passed to introduce extraneous notes to total chromatic , namely the coexistence of the 12 notes within the same musical space, or sound the same cluster (which can no longer, 's henceforth, described as an agreement) "[Wikipedia].
was this definition of agglomeration sound" that best described the intent dodecaphonic: overcoming the agreement in favor of the total chromatic , conglomerate comprising 12 notes in the same musical space - this is the assumption dodecaphonic. In the electronic environment dissonance , In general, reached their own spaces, digging in the common taste and becoming more accessible. In this regard the compositional paradigm metaelettronico highlights the 'dissonant existing schemes' , the basis of pragmatism and its methodology expressionist serial, what we assume in practice is that an experiment on the system notes the '12' may developments do not lead to indifference of the compositional structure (meta) electronics, from Schoenberg-Weberian approach through a narrow adaptation to 'dissonant existing schemes' (which depth later). In short, however, such schemes can be used to provide series The tonal shift , so that the composition moves freely in space sound through the ranges and movements of the twelve-tone technique, using consciously and strongly dissonant passages in the residues tonal harmonic force. Electronics and metaelettronica in this way may even make a point of arrival and the latest evolution of the twelve-tone technique and application pantonal schoenberghiana, due to the synthetic nature of the sound, the breadth and depth of sampling expressive dynamics of the noise, which through the 'method of composition with only 12 known relatives of each other "are a good platform of dissonance - the avant-garde, l'IDM, il glitch , espressioni che aprono vastissimi orizzonti al decentramento tonale e alla dissonanza sulla scia delle prime sperimentazioni sul metodo. A partire dallo schema seriale quindi, l'applicazione del metodo nella musica elettronica può trovare molte e moltissime evoluzioni, a partire da elementi semplificativi quali il sequencer, analogico o digitale, la comunicazione MIDI, etc.
FONDAMENTI DEL SERIALISMO PER LA COMPOSIZIONE ELETTRONICA. Ciò che suggerisco per approcciare tale metodo nella composizione elettronica è di tenere a mente semplicemente le lineeguida base del sistema di Schoenberg: la teorizzazione e l'applicazione del «Metodo di settlement with relatives of only 12 notes to each other "is to create a series (a sequence of 12 notes) that drain the total chromatic , and what characterizes this series and differentiation from the chromatic scale (12 semitones), because it also contains the same notes, the order is chosen by the composer based on the needs of the composition. Often series of 12 notes is divided into smaller parts or microserie of three, four, six notes, with internal similarities between intervals. Continuing on this serial method, the composition will take a systematic series both horizontally che verticalmente , formando cioè sia successioni melodiche sia sincronizzazioni di più note. E ancora oltre, ciò che se ne ricava è uno spiazzamento, un decentramento compositivo, in quanto ciò che questo tipo di architettura musicale comporta è l'assenza di un centro tonale globalmente riconoscibile, poiché nessuno dei 12 suoni della serie viene impiegato con frequenza maggiore degli altri. In verità, l'assenza di un centro tonale è vero solo in parte, in quanto
il riconoscimento di un centro tonale non dipende solo dalla frequenza media di apparizione di una nota, ma anche dalle particolari successioni orizzontali e verticali adoperate; anche nella musica dodecafonica si avvertono (e nelle opere di Schoenberg sono sfruttati consapevolmente e intensivamente) residui di forza armonica tonale nei singoli passaggi accordali. In questo contesto seriale il compositore si avvale dei classici metodi di variazione tematica provenienti dalla musica contrappuntistica, evolvendo e svolgendo la serie secondo diversi schemi compositivi: impiegando la serie nell'ordine iniziale oppure dall'ultimo suono al primo ( serie per moto retrogrado ), oppure invertendo specularmente la direzione degli intervalli ( serie per moto contrario ) o combinando le due tecniche precedenti ( contrario del retrogrado ). Within the series of permutations can be allowed. For example, a series formed by the notes can be swapped into 1-2-3-4-5-6 2-1-4-3-6-5. Overall, the twelve-tone musical organization constituted a considerable simplification compared to the situation immediately preceding, in which, as we said, used the harmonic artifices had greatly complicated tonal music.
'SERIES retrograde motion', 'SERIES contrary motion', 'RETROGRADE INVERSE SERIES' SERIAL and transpositions. It 'important to note that, paradoxically, the maximum development of the tonal system, in the nineteenth century, coincided with the beginning of its crisis and the evolution of the experiments in the direction of dissonance. The work of Stravinsky, in my opinion, is one of the best expressions of this evolution of the tonal system, because, contrary to what one often reads, evolution is, in fact subverts the pantonal and while the system evolves tones : while the tonal system is strictly hierarchical , each note having a different weight (tonic, dominant, etc.), the twelve-tone technique, though that can be meted attreverso a more or less iron, it opens an open space where every note of the chromatic scale has the same importance in the overall sound. And 'this important revolution of the new method, which takes place horizontally and vertically in terms of composition through the tones, intervals, the riots and the series, keeping in mind the differences the term 'atonal' and 'twelve-tone' that Schoenberg has repeatedly stated since the development of the method in 1920: while the former indicates a composition devoid of tonal references, the second refers to a specific atonal system based on the development of a series - succession of twelve notes where each note of the chromatic scale should occur only once. Entering the specific example we take an original series, DO-DO-F # # #-RE-RE-MI-LA #-SI-FA-LA-SOL-SOL # from which you can then build different architectures through twelve-tone combinations and motions: RETROGRADE SERIES , the notes of the series will be written last to the first (# SOL-FA-SOL-LA-LA-SI-MI # -RE-RE-DO # # #-FA-DO); SERIES REVERSE, turning in ascending descending intervals and vice versa in this example, because the first fragment FA # DO-DO-RE-# # you get down to 6 semitones (DO> F #), to go up 7 (C #) and even 2 (RE #), series in inverse must ' , always starting from DO , up to 6 semitones (FA #), then dropped by 7 (SI) and more than 2 (LA). The complete set of transforms therefore # DO-SI-FA-LA-LA #-G # #-DO-RE-SOL-RE-MI-FA # ; RETROGRADE INVERSE SERIES , namely Retrograde-inverse of that series will be inverted notes series of reverse last to first: # MI-FA-RE-SOL-DO-RE-# G # #-LA-LA-SI-FA # -DO; SERIES transposed are obtained by raising the notes of a series of the same number of semitones, the procedure is similar to that used in the system tonale per la modulazione. La trasposizione lascia inalterati gli intervalli tra le note, esattamente come avviene nel passaggio, per esempio, dalla scala di do maggiore a quella di la maggiore. Ognuna delle 4 serie di partenza (dall'originale alla retrograda inversa) ne genera dodici trasposte, una per ogni nota della scala cromatica, per un totale di 48. Esempio, innalzando le note della serie originaria di un semitono si ottiene: DO#-SOL-RE-MI-RE#-FA-SI-DO-FA#-LA#-SOL#-LA. In una composizione dodecafonica le serie si susseguono secondo uno schema lineare: per ogni strumento/voce una serie non inizia finchè non è terminata la precedente; questo sistema sequenziale assicura l'equilibrio dodecafonico della composition, ensuring equal weight to the notes of the chromatic scale, while the use of 4 sets plus their transpositions, is to ensure the unity of the composition. The extreme consequence of the twelve-tone and serial music is highly mathematical un'approccio, more cerebral than music.
CONCLUSIONS. Twelve-tone technique was then placed in musical history as a break from a perspective of tolerance and development and other. The tonal system, which is inextricably linked to the wide use and the popular tradition, needed an overrun in the eyes of those who spent a lifetime in the interdisciplinary study of theory, philosophy and music composition, saw a solution socio / cultural subversion in atonal, especially in light of the expressive movements of the time and the political situation in Europe. It became so rampant find a new method for creating and composing, beyond the lack of strict rules on its own of late romanticism and marking a return to the rationalism of the classical age. Twelve-tone represented on the momentum gathered and expressive and " by its very nature, innovative and different, it became immediately c endorsement of the anti-fascist struggle. Radicalism music became synonymous with resistance to oppression" . This form of expression as fundamental as the vanguard of his music, subversion of the traditional tonal system was in fact opposed by the arrangements, the same music by Anton Webern was indeed judged to be degenerate and totally censored under the Nazi occupation of Austria in 1934 and that of Alan Berg, was banned in Nazi Germany. While evolving in the set of rules of composition, radicalism and social conscience / politics was steeped in the twelve-tone composers remained thereafter. In Italy, for example, Luigi Nono from a twelve-tone language closely then you open to a very personal language. In the next post you go into 'technical details about the method and its twelve-tone serial music through changes in the development of complex sets.
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This post is the first part of a study of twelve-tone and dissonance with regard to the sound texturalism , the metalettronica and those ' electronic expression of which we are dealing with, attempting to define the territory of theoretical and pragmatic. The next post will be tense and then in the practical exploration of the atonal system of electronic composition, through a critique of Levi-Strauss of the method, while not sharing critical, rather it highlights the best aspects, in the ultimate manifestation of a long crisis of the tonal system, and a more thorough treatment of classic Indian music-theoretical tradition, the "Sangitaratnakara" of Sarngadeva, that reveals, through an interesting digression mathematics and 'numerical matrix triangular' ( "Khandameru" - said "triangle Sarngadeva" ) fundamental tone series (a study is not easy, especially to be simplified and illustrated in composing electronic applications).
