Living music

review for the study of music and dance

His­to­ric Flute Tra­di­ti­ons of Native North Ame­rica in Tran­si­tion: 1890 to the Present

Cre­a­ting and playing flu­tes is a practice that dates back thou­sands of years in Native North Ame­rica. While coming close to extin ction in the deca­des after 1900, a few old time players kept the tra­di­tion alive until younger gene rati­ons of Natives could take it up and revi­ta­lize it. As part of this revi­ta­lization, however, the instru­ment was also recon­tex­tua­lized over the time period from about 1980 – 1995 as some­thing for mass enter­ta­in­ment purpo­ses, and as part of this pro­cess the very structure of the instru­ment changed in order to incorpo­rate Wes­tern (European) con­cepts of into­nation and tim­bre. This article tra­ces those changes through a cru­cial period.

Con­structing the Sound of Devils: Dialecti­cal Inter­acti­ons between Cul­ture, His­tory, and the Con­struction of the Czech Vozembouch

The vozem­bouch is a folk instru­ment that has evolved through cen­tu­ries of dialecti­cal inter­acti­ons with Slavic (and Ger­manic) cul­tu­res. The instru­ment has deve­loped from a per­cus­sive bowed single­string fid­dle to being pri­ma­rily a per­cus­sion instru­ment, often con­struc­ted without strings, and it has shif­ted back and forth over time between being a pro­mi­nently used or all­but­extinct instru­ment in Czech cul­ture. Vozem­bou­chy (pl.) have evolved from medieval pagan ritual enhan­cers to min­strel instru­ments to per­cus­sion remin­ding some Slavic people of their heri­tage in troubled times, and has been part of a folk music revival that has resul­ted in renewed inte­rest in tra­di­ti­o­nal perfor­mance on the instru­ment, as well as new, modern musi­cal directi­ons embra­ced by players spanning many…

Recor­ding Direction in the Pro­cess of Sound Recording

The article deals with the recor­ding of a final work of stu­dents from the Depart­ment of Sound Cre­ation whose spe­ci­a­li­sation is recor­ding direction and sound cre­ation at the Music and Dance Faculty of AMU. The pro­ject was suppor­ted by the stu­dent grant compe­ti­tion AMU 2016. A large emphasis has been given to the diffe­ren­ti­ation of two pro­fes­si­ons, recor­ding direc­tor and sound engi­neer, with par­ticular focus on the pro­fes­sion of recor­ding direction. The article intends to show that the con­tempo­rary cha­rac­ter of both pro­fes­si­ons depends on the evo­lu­tion of recor­ding tech­no­logy. All the stages of the recor­ding pro­cess are inclu­ded. The article also shows how the edi­ting of recor­ded sound mate­rial has become a research sub­ject in its own right. Finally, there are pre­sen­ted examples of the work…

Between Catego­ries

In my study I pur­sue an impor­tant fea­ture of the late composi­ti­ons by Mor­ton Fel­d­man which directly influen­ces the possi­ble analy­ti­cal appro­ach. The analy­sed composi­ti­ons are nota­ted in a rela­tively stan­dard manner; however, the sym­bols we face in the score might not always be what they seem to be. The boun­da­ries sepa­ra­ting the notation and the acous­tic rea­lity are challenged. It is not possi­ble to unam­biguously deter­mine the angle through which to view these works, we find our­selves between diffe­rent pheno­mena, between catego­ries. In my analy­sis, I take into con­si­de­rati­ons Feldman´s early works – this method helps under­stan­ding his later composi­ti­o­nal pro­cedu­res, and also shows the ove­rall integrity of Feldman´s composi­ti­o­nal thinking. I try to set my reflecti­ons within a broader…

Silent within noise: instru­men­tal saturation

This article deals with a new musi­cal pheno­menon – instru­men­tal satu­ration. First I describe the essen­tial composi­ti­o­nal prin­ciple rela­ted with the instru­men­tal satu­ration. Further I men­tion the main per­so­na­li­ties of this musi­cal move­ment and their pre­de­ces­sors as con­cerns the use of inhar­mo­nic mate­rial. In the next part I dis­cuss two string quar­tets of the two composers focusing on three fun­da­men­tal para­me­ters – time, dyna­mic and gesture. Con­currently I describe the con­cepts “abso­lute satu­ration“ and “infra satu­ration“ as two extreme situati­ons of composi­ti­o­nal appro­ach. In the end I compare both the string quar­tets and describe their simi­la­ri­ties and diffe­ren­ces in terms of the three fun­da­men­tal para­me­ters men­ti­o­ned above.

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