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About music which refuses to be merely music

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lecturer
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finance
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oxford

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Rendy K.
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documents in English
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term papers
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  1. Introduction
  2. In the realm of music and beyond: Music, musics and non-music
    1. Different environments and types of music
    2. Musicological framework of Globokar
    3. Relationship between music and environment
  3. Ties with the environment: Acting/reacting, composition/improvisation and inventing/disclosing
    1. Globokar's creations
    2. Genesis of Globokar's music
    3. Globokar's basic approach towards invention
    4. Inspection of relationships
    5. Difference between composing and improvising
    6. The individual solutions
  4. Freedom and musical language
    1. Creative freedom
    2. Composer's attitude towards the past
    3. Re-contextualisation of the aesthetic sizes
    4. Performance in Ljubljana
  5. Conclusion

Ranking with the most eminent classics of the 20st century, Vinko Globokar does not require a detailed presentation; it would be therefore appropriate to make a brief summary of his life. Vinko Globokar was born on 7th July 1934 in a Slovene emigrant family living in Anderny in France. From the age of thirteen to the age of twenty he lived in Ljubljana, where he finished secondary music school. He continued his studies at the Paris Conservatoire, where he studied trombone under Professor Andre Lafoss. He graduated in trombone and chamber music, and then studied composing and conducting with René Leibowitz. He played at premier performances of a number of compositions of such trombone composers as Luciano Berio (Berlin) and René Leibowitz. In addition, he lived as a composer and performer in Buffalo, and set up New Phonic art, a quartet for free improvisation He lectured at the Musikhochschule in Köln, whilst in Paris he was the head of the department for research into sound and the voice at the IRCAM institute. At present, Globokar, a cosmopolitan often returning to his homeland, lives in Berlin unless he is roaming some distant places in pursuit of new artistic challenges.

[...] The question naturally arises about how to define the genesis of the musical present, in which music is interwoven with conflicts between »emancipation of dissonance«, »emancipation of consonance«, »new simplicity«, »new complexity«, »intentionality«, »engagement«, »disinterested aesthetics«, »explosion of tone«, »return to the classical and the old« , and a number of various artistic shades of »the past«, »internality«, »marginality« and in particular »foreignness«? It seems that musical theatre, Globokar's basic approach towards invention, springs from two ideological environments. Firstly, it is tradition of New Music of postwar avantagardists which has left an imprint on Globokar's music in that his music echoes a yearning for shaping sound as well as arranging it, a desire for inventing new sonorous constellations as well as a lust for creating and acting. [...]


[...] Globokar's freedom, an illusion which he is aware of, is non-existent as well as comparable to a similarly implausible conviction that music is exclusively world unto itself.« The inventor can only attain freedom by facing captivity. This basic driving force behind invention applies to Globokar as well. Globokar's creative freedom lies in his free selection of his own captivity. Such deliberations shift our attention this time in the light of the relationship between the semantics and formability of the musical discourse - to the notion of the musical work and its equivalence for Globokar's music: dealing with sounds. [...]


[...] Provided that an improvisational experience »contributes to the fact that music is better experienced, understood or felt« than it also contributes to the art of interpretation of a specific impulse or criticism. Bearing this in mind, it would be more appropriate to raise a somewhat different question regarding the relationship between inventing and disclosing: instead of addressing this difference, attention should be devoted to the question of creative freedom. Freedom and »musical language« should always start anew.« This conviction is not only Globokar's guiding principle in his work, it is also his artistic creed. [...]

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