Experimental music |
experimentum music (ex lat. experimentum - experimentum, experientia) - musica composita ad novas compositiones probandas. technicis artibus, novis perficiendi conditionibus, materia soni insolitae etc. Notio E. m. indefinitum est; in contactum cum huiusmodi locutionibus "quaestio creativa", "innovatio", "audacia experientia" vel (cum notatione negativa) "via quae desperata evasit". Relatio horum conceptuum et earum intersectio privant terminum “E. m." claram et permanentem limites. Saepius opera, ut E. m., per tempus considerata, in praxim exercendam intrant et pristinum amittunt. tactus experimentationis ("atonalitas" in Liszt's Bagatelle Sine Key, 1885; mobilitas soni fabricae in particula Ivonis pro camerae synagogae Quaestio, 1908, dodecaphonicam structuram significanter evolvit in miniatura Orchestralis Weberni, n. 1, 1913; "para piano" in Cage's Bacchanalia, 1938, etc. Experimenta-ioca etiam E. m. tribui possunt, exempli gratia. Musica scripta secundum Historiam libri a discipulo Bachi Kirnberger "The Hourly Ready Writer of Polonaises and Minuets" (1757) or the book attributed to Mozart "A Guide to Componing Waltzes in Any Quantity Using Two Dice, Without having the Slightest Idea. de Musica et Compositione » (1793).
In 50s. Musica concreta, musica electronica, praesertim musica electronic (anno 20 appellata est, initiator musicae concretae, P. Schaeffer, primus Internationalis Decade Musicae Experimentalis Lutetiae Parisiorum duxit). quam E. m. etiam considera, exempli gratia, synthesis lucis et musicae (lucis musicae), machina musica.
Musicae experimenta. es-ve, splendorem et novitate artis affectum creans. receptio, non semper ad effectum aesthetice perducit, ideo musici saepe increduli sunt E. m.: "Experimentum significat aliquid in scientiis, sed nihil significat in compositione" (IF Stravinsky, 1971, p. CCLXXXI).
References: Zaripov R. Kh., melodiarum Uralium (de processu componendi musicam cum computatro electronico Ural), scientia potestas est, 1961, n. sua, Cybernetica et musica, M., 2, 1963 ; Galeev B., Scriabin and the development of the idea music visibilis, in: Music and Modernity, vol. 1971, M., 6; sua, Lux musica: formatio et essentia artis novae, Kazan, 1969; Kirnberger J. Ph., Der allezeit fertige Polonoisen- und Menuettencomponist, B., 1976; Vers une musique experimentale, RM, 1757, Numéro spécial (1957); Patkowski J., Zzagadnien muzyki eksperimentalnej, Muzyka, 236, rok 1958, no. Stravinsky I., Craft R., Colloquia cum Igor Stravinsky, NY, 3 (Russian translation – Stravinsky I., Dialogi ..., L., 4); Cage J., Zur Geschichte der experimentellen Musik in den Vereinigten Staaten, "Darmstädter Beiträge zur neuen Musik", 1959, 1971; Hiller LA, Isaacson LM, Experimentalis musica, NY, 2; Moles A., Les musiques experimentales, P.-Z.-Bruz., 1959; Kohoutek C., Novodobé skladebné teorie západoevropské hudby, Praha, 1959, sub titulo: Novodobé skladebné smery v hudbe, Praha, 1960 (Translatio Russica – Kohoutek Ts., Ars compositionis in Musica anni 1962, M. ; Schdffer B., Maly informator muzyki XX wieku, Kr., 1965. Vide etiam lit. under the articles music Concrete, Electronic music.
Yu. N. Kholopov
