Klett-Cotta-Verlag Psychology

Kunstgesang als Klangsymbol

Belcanto in experimenteller Vokalmusik nach 1960

Oktober 2019, 23. Jahrgang, Heft 92, pp 5-25

Art Song as a Sonic Symbol: Belcanto in Vocal Music After 1960
The experimental exploration of new vocal possibilities in the 1960s expanded the repertoire of vocal utterances with noise-like practices. In the light of these new developments, the question of what role the conventional sonorities of the voice from traditional art song could play in the experimental vocal works of the avant-garde in the second half of the 20th century disappeared from view. This article offers exemplary descriptions of five different compositional strategies for using traditional art song in text-based, experimental vocal compositions (affirmation, negation, ambivalence, paradox and integration). These are laid out using examples by Luigi Nono, Chaya Czernowin, Dieter Schnebel, Michael Reudenbach, Luciano Berio, Helmut Lachenmann, Morton Feldman, Salvatore Sciarrino, José Louis Torá, John Cage and Carola Bauckholt. In the process, it emerges that the sonic world of art song has different meanings ascribed to it that focus to a notable extent on questions or theorems from the European philosophy of the subject, and are at times contrary or even mutually exclusive. The specific sonic character of art song becomes a sonic symbol whose content is essentially interchangeable.

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