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Re: [microsound] article on music and politics
I fully agree with you--my criticism was more directed at Gann and the
usual whining about serialism.
I was very fortunate to have attended a number of concerts of Nono's
music. From 'Quando stanno morendo' to 'Hay que caminar sognando' by
way of 'Caminantes Ayacucho' and even 'Y entonces comprendio' at the
Biennale last year, I have to say it is an enlightening experience.
And curiously, no serial permutations to be found anywhere... So much
for applying the label to composers that had a passing flirt with
serialism (same applies to Boulez and Stockhausen, even).
Still waiting for the next concert of 'Prometeo'.
//p
http://www.interdisciplina.org/00.0/
On 12/8/06, David Powers <cyborgk@xxxxxxxxx> wrote:
I want to add, I LOVE Nono's music (more than Boulez or Stochkausen),
but I've never heard it live. I've never seen it on a program
anywhere. Being in the US, and only in a large city (Chicago) within
the last three years, I guess that's no surprise. Especially because
serial and post-serial music seem to have become "politically
incorrect" after things took a postmodern/neo-whatever turn.
And to be clear, I don't mind that music took a turn away from
serialism, but I'm bothered by this need to viciously attack and
discredit anything that was rooted in the earlier
post-serialistserial/post-serial practices. One senses a strange
paranoia, as if anything rooted in any kind of rational and modernist
principles is going to give rise to some sort Stalinist
totalitarianism; even when it's just a work of art! Interestingly,
this turn happened at the same time that everyone gave up on the
project of creating a liberated, rational society, and instead bowed
down before the magical powers of the Free Market and the Invisible
Hand.
Regardless of all that, I still think in the broader sense the author
has a point about the politics of titles - even if Nono himself was a
bad example.
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