Source:Abingdon, Oxon ; New York, NY : Routledge,, United Kingdom, p.1 online resource (xxii, 9 unnumbered pages of plates, 527 pages) : (2019)
Mots-clés:(OCoLC)fst01030269, 20th century, bisacsh, fast, General., Genres & Styles, History and criticism., Music, Music., Reference.
Includes bibliographical references and index.Foreword; Introduction; 1: Prolegomena: a Venetian pre-biography; 2: Accelerated learning: years of study, 1942-50; A classical education; Encounters; Gian Francesco Malipiero; Bruno Maderna; Hermann Scherchen; Eunice Katunda; René Leibowitz; Luigi Dallapiccola; 'Due liriche greche'; 3: Confronting modernism: Darmstadt; The emergence of a language; 'Variazioni canoniche sulla serie dell'op. 41 di Arnold Schönberg'; Dodecaphonic variations; 'Fučík''Polifonica -- Monodia -- Ritmica''Composizione per orchestra [n. 1]'; Engagement; Lorca: drama, struggle and reference -- 'Epitaffio n. 1-3 per Federico Garcia Lorca'; 'Epitaffio n. 1: España en el corazón'; 'Epitaffio n. 2: Y su sangre ya viene cantando'; 'Epitaffio n. 3: Memento -- Romance de la Guardia Civil Española'; 4: Taking positions: song; Traveller . . .; Expressions; 'Due espressioni'; 'La Victoire de Guernica'; 'Liebeslied'; Into the theatre: 'Der rote Mantel, Was ihr wollt'; Integration; 'Canti'; 'Incontri'; 5: 'Docere e movere': Il canto sospeso; Genesis; Text; MusicInstrumental movements 1, 4 and 8Solo vocal movements 3, 5 and 7; Choral movements 2, 6 and 9; Song; 6: Poetry and drama; 'Varianti'; Collaboration; Reflection; Composition; Earth and sea; 'La terra e la compagna'; 'Cori di Didone'; Diary and design: 'Composizione per orchestra n. 2: Diario polacco '58'; Inception; Space and movement; Historical presence and present tensions; Helmut Lachenmann; Melos reborn; 'Sarà dolce tacere; ' "Ha venido". Canciones para Silvia'; Into the studio: 'Omaggio a Emilio Vedova'; 7: Intolleranza 1960; Gestation; Composition; Production; Resonance8: New spaces: studio, street, factory'Canti di vita e d'amore: Sul ponte di Hiroshima'; 'Canciones a Guiomar'; Possibility of a new theatre; Evolving projects; 'Un diario italiano'; 'La fabbrica illuminata'; Locating the work; The sonic factory; American journey; The inferno: 'Die Ermittlung' and 'Ricorda cosa ti hanno fatto in Auschwitz'; Internationalism; The living studio; 'A floresta é jovem e cheja de vida'; 9: Manifestos; Anti-revisionism: 'Per Bastiana -- Tai-Yang Cheng'; Political engagement at home and abroadSituated action and Venetian counterpoint: 'Contrappunto dialettico alla mente'The soundtrack of struggle; 'Il Manifesto'; Direct action; 'Musica-Manifesto n. 1: Un volto, e del mare -- Non consumiamo Marx'; 'Y entonces comprendió'; The institutional performance of protest: 'Voci destroying muros, Ein Gespenst geht um in der Welt'; Solidarity in a new culture; Music and reality; A wave of strength and light; 10: Al gran sole carico d'amore; A long-awaited sunrise; Operatic architecture; A national event; A Gramscian opera?; Under a common flag: 'Für Paul Dessau'; 11: Waves" ... sofferte onde serene ..."Online resource; title from digital title page (viewed on November 13, 2018).Of the post-war, post-serialist generation of European composers, it was Luigi Nono who succeeded not only in identifying and addressing aesthetic and technical questions of his time, but in showing a way ahead to a new condition of music in the twenty-first century. His music has found a listenership beyond the ageing constituency of 'contemporary music'. In Nono's work, the audiences of sound art, improvisation, electronic, experimental and radical musics of many kinds find common cause with those concerned with the renewal of Western art music. His work explores the individually and socially transformative role of music; its relationship with history and with language; the nature of the musical work as distributed through text, time, technology and individuals; the nature and performativity of the act of composition; and, above all, the role and nature of listening as a cultural activity. In many respects his music anticipates the new technological state of culture of the twenty-first century while radically reconnecting with our past. His work is itself a case study in the evolution of musical activity and the musical object: from the period of an apparently stable place for art music in Western culture to its manifold new states in our century. Routledge Handbook to Luigi Nono and Musical Thought seeks to trace the evolution of Nono's musical thought through detailed examination of the vast body of sketches, and to situate this narrative in its personal, cultural and political contexts.Jonathan Impett is a trumpet player and composer. He is Director of Research at the Orpheus Institute, Ghent, where he leads the research group 'Music, Thought and Technology', and Associate Professor at Middlesex University, London. His work is concerned with the resituating and redistributing of musical activity. It explores the spaces between score and improvisation, musician and technology, the use of interactive and intelligent systems, the cultural role of models from science and the nature of the contemporary technologically situated musical artefact. He is also a member of the Orchestra of the Eighteenth Century.