Contemporary Music: Theoretical and Philosophical by Max Paddison

By Max Paddison

The crisis of latest tune at the present time and the philosophical and theoretical questions concerning it are the focal point of this quantity of essays by means of best overseas musicologists and philosophers.

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By Max Paddison

The crisis of latest tune at the present time and the philosophical and theoretical questions concerning it are the focal point of this quantity of essays by means of best overseas musicologists and philosophers.

Show description

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Extra resources for Contemporary Music: Theoretical and Philosophical Perspectives

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In his chapter, ‘Atonal harmony: from set to scale’, Célestin Deliège puts forward here a completely original alternative to set theory for the analysis of atonal harmony which takes account of fundamental tones, resonance and timbre, and through this is able to make a meaningful connection with the Spectralist composers. François Nicolas, in contrast, from his research work at IRCAM, carries out a philosophical analysis of the necessary conditions of a musical logic, focusing in turn on notation and consistency, the dialectical relationship to other works, and the possibility of an autonomous, strategic musical logic, not determined by external factors.

Trans. as ‘Putting the Phantoms to Flight’, Orientations, trans. Martin Cooper (London: Faber & Faber, 1986), pp. 63–83 Cage, John, Silence (London: Marion Boyars, 1968; 1980) Dahlhaus, Carl, Form in der Neuen Musik: Darmstädter Beiträge zur Neuen Musik X, ed. Ernst Thomas (Mainz: B. Schott’s Söhne, 1966) ——, Schoenberg and the New Music, trans. ’, The National Interest 16 (Summer 1989), pp. 3–18 Habermas, Jürgen, Der philosophische Diskurs der Moderne: Zwölf Vorlesungen (Frankfurt am Main: Suhrkamp Verlag, 1985).

It differs from ‘instrumental’ music because it is not dependent on human gesture. It is also different in its precision, reproducibility and stability. To instrumental music, electronic music adds machinery – computers, and detection and measurement devices – as well as experimental techniques. After Max Matthews, Jean-Claude Risset developed a new experimental technique at the end of the 1960s: analysis by synthesis. Computer music requires complete specification of the physical structure of sound, and this will only be relevant if all details are included.

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