Klett-Cotta-Verlag Psychology

Materialien zu einer Geschichte der modernen Vokalmusik

April 2019, 23. Jahrgang, Heft 90, pp 35-45

Materials for a History of Modern Vocal Music
The turbulent development of vocal music after 1960 drew its dynamism not only from the revolutionary situation of the time, but also from recent literature. This specific development began with poets such as Christian Morgenstern, who is considered the inventor of sound poetry. The Zurich Dadaists (Hugo Ball, Walter Serner and Tristan Tzara) took up this idea and spread it throughout Europe from 1916 onwards. Marcel Duchamp brought it to New York, where it was adopted by John Cage and his associates after 1945 before being re-imported to Europe shortly afterwards. In Europe the foremost exponent was Kurt Schwitters, who already gained a wider audience for sound poetry before 1933 with his Ursonate, especially with the record he recorded himself. In the wake of Cage, Schwitters was also rediscovered (Ligeti). A new kind of aesthetic developed from this, one that differed from the traditional approach in no longer viewing composition as the renewed collection of familiar sounds, but rather as the production of new ones. The theoretical foundation for this came once again from literature, namely the works of the »Stuttgarter Konkreten« around Max Bense.

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