Keyword(s):Analysis , Discourse within Electroacoustic Music , Socio-Cultural Aspects of Electroacoustic Music , Impact of Electroacoustic Music , Electronic Music , Mixed Work , Genres and Categories [G&C] , Musicology of Electroacoustic Music [MEM]
This article examines the semantic significance of ”text” within electroacoustic music, with particular attention to tape music of the 1950s and 60s. The author discusses the so-called ”textual prejudice”; this prejudice takes into account a musical text only for its given or transmitted written form. The author stresses that each electroacoustic work is a text, as it is an enunciation that constitutes an accomplished communicative unity. Electronic texts would be mute if not performed, as it happens for any other musical text; moreover it is always possible to analyze their data and technical, aesthetic and philological contexts. The tape is consequently a significant surface as well as the paper. The article traces different historical phases of writing on tape, and offers an analysis of Ausstrahlung (1971) by Bruno Maderna (for female voice, flute, oboe, orchestra and tape), a piece that carries interesting philological problems related to the creative process, preservation and transmission of the text. This article generally considers prescriptive scores, which refer to realization and the sonorous sign at the symbolic level, rather than listening or graphical scores.
De Benedictis, Angela Ida (2004a). Scrittura e supporti nel Novecento: alcune riflessioni e un esempio ('Ausstrahlung' di Bruno Maderna)
All references of the same author:
(English)DE BENEDICTIS, Angela Ida (2004b). Radiodramma e arte radiofonica. Storia e funzioni della musica per radio in Italia
(Italiano)DE BENEDICTIS, Angela Ida (2004b). Radiodramma e arte radiofonica. Storia e funzioni della musica per radio in Italia