Type: Lecture
Language: Greek
Year of Publication: 1970
Description:
This lecture by Yorgos Sicilianos, the third in a series of five delivered between April 8 and May 22, 1970, at the American College of Girls’ Senior College, focuses on the avant-garde music from Webern to the present, specifically on serial and electronic music.
The lecture discusses the gap between contemporary music and the general audience, noting that modern compositions often seem inaccessible or unappealing to the uninitiated listener. This perceived failure of modern music to communicate effectively is attributed to a lack of familiarity and the complexity of contemporary compositions.
Sicilianos divides post-war music into three categories: serial (or rationalist) music, electronic music, and aleatoric (chance) music. He emphasises that serial music, notably advanced by Webern and Schoenberg, extended beyond melody and harmony to include rhythm, timbre, and dynamics. This method of organisation, illustrated by techniques like the Fibonacci sequence, creates complex, integrated musical structures.
The lecture further explores the evolution of counterpoint in modern music, where the traditional roles of melody and harmony have shifted, leading to new forms of musical tension and relaxation. This transformation is exemplified by the works of Luigi Nono and Karlheinz Stockhausen, who have explored spatial dimensions in music, positioning sound sources around the audience to create immersive auditory experiences.
Sicilianos also delved into electronic and concrete music, which began in the mid-20th century. He highlights the pioneering efforts in electronic sound production and manipulation, where composers like Herbert Eimert and Pierre Schaeffer used electronic generators and tape manipulation to create new sonic landscapes. This technological advancement allowed composers to transcend the limitations of traditional instruments, producing sounds that were previously unattainable.
The lecture concludes by acknowledging the psychological and technical factors that have driven these musical innovations. The post-World War II era’s sense of uncertainty and the rapid development of recording technology fostered an environment ripe for musical experimentation. This shift led composers to seek increasingly novel and bold forms of expression, moving away from traditional structures towards a more exploratory and avant-garde approach. The next lecture promises to explore these developments further, particularly the return to vocal and instrumental music in an anti-rationalist manner.