Journalartikel

Jahr der Veröffentlichung: 2018

Seiten: 173-186

Zeitschrift: Musiktheorie : Zeitschrift für Musikwissenschaft

Bandnummer: 33

Heftnummer: 2

ISSN: 0177-4182

Verlag: Laaber-Verlag

Abstract: 
In 1964 the Italian avant-garde musician Franco Evangelisti decided to cease to compose. The radical decision to give up to write music was not meant to interrupt his musical activity. In the same year he founded the Gruppo d'improvvisazione Nuova Consonanza with other artists as Larry Austin, John Heinemann and Ennio Morricone. Giving up traditional composition was just one of several shifts in his artistic biography. In fact the evolution of his oeuvre can be summarized in the following steps: From serial composition to aleatory techniques, from a musique informelle to the implementation of collective works, and finally from the strictliy organized musical improvisation to the writing down a book about the end of music. The binding moment of the entire evolution of Evangelist's artistic and intellectual production lies in the constant discomfort with the notion of musical work both in terms of tradition and in the sense of the aesthetics of the post-war avant-garde. This paper explores the different strategies implemented by Evangelisti in order to break up with every single aspect of tradition starting from serial composition and ending with the draft of his book.

Harvard-Zitierstil: Nanni, M. (2018) Von der Reihe zur Utopie einer neuen Klangwelt. Franco Evangelistis Unbehaglichkeiten, Musiktheorie : Zeitschrift für Musikwissenschaft, 33(2), pp. 173-186

APA-Zitierstil: Nanni, M. (2018). Von der Reihe zur Utopie einer neuen Klangwelt. Franco Evangelistis Unbehaglichkeiten. Musiktheorie : Zeitschrift für Musikwissenschaft. 33(2), 173-186.