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Body - Instrument – Sound. Metaphysics of Sound in the "Mani" Cycle by Pierluigi Billone
Lavrova Svetlana Vital'evna

Doctor of Art History

associate professor, prorector for research and development at Vaganova Academy of Russian Ballet

191023, Russia, g. Saint Petersburg, ul. Zodchego Rossi, 2

slavrova@inbox.ru
Другие публикации этого автора
 

 

Abstract.

The article is devoted to the phenomenon of sound corporality in the creative concept of Italian composer Pierluigi Billone. In the course of study, a continuity of the elements of his creative paradigm is traceable in "sound types of new music" by Helmut Lachenmann and in ideas of the focused point of hearing and "sound vision" by S. Sciarrino. The basic material for the analysis is the instrumental cycle "Mani" to which the composer was inspirited by works of contemporary conceptual artists. The study concludes that there is a continuity of the creative ideas of new music of the second half of the twentieth century in the works by Billone in the twenty-first century, which are objectified within the framework of different instrumentation that uses specific everyday items and objects as percussion instruments. The study applies an integrated approach to the material under consideration. The article will be interesting to specialists in the field of contemporary music and musical performance, it is addressed to professional musicologists, as well as to a wide range of readers interested in the issues of contemporary musical art in general and issues of musical actionism.

Keywords: Charrino, Lachenman, Billone, the solidity of sound, twentieth-century music, modern music, actionism, performing gesture, sound, musicology

DOI:

10.7256/2453-613X.2018.1.25861

Article was received:

03-04-2018


Review date:

01-04-2018


Publish date:

21-04-2018


This article written in Russian. You can find full text of article in Russian here .

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