Difference between revisions of "Central and Eastern Europe"

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===People===
 
===People===
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* 1910s-20s: [[A.N.Scriabin]], [[Vladimir Baranoff-Rossiné]], [[Arnošt Hošek]], [[Zdeněk Pešánek]], [[Erwín Schulhoff]], [[Miroslav Ponc]] (Prague)
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* 1910s-20s: [[A.N.Scriabin]], [[Vladimir Baranoff-Rossiné]], [[Arnošt Hošek]], [[Zdeněk Pešánek]], [[Erwín Schulhoff]], [[Miroslav Ponc]] (Prague), Baranov, [[Sándor László]]
 
* 1960s-70s: [[Alois Piňos]] (Prague), [[Petr Kotík]] (Prague), [[Milan Grygar]] (Prague), [[Bulat Galeyev]] (Kazan)
 
* 1960s-70s: [[Alois Piňos]] (Prague), [[Petr Kotík]] (Prague), [[Milan Grygar]] (Prague), [[Bulat Galeyev]] (Kazan)
 
===Networks===
 
===Networks===

Revision as of 19:30, 19 June 2009

Constructivism

People

Networks

Places

Moscow, 1910s-20s
Prague, 1920s
Warsaw, 1920s, and Lodz, 1930s

Literature, literary theory, aesthetics

Terms

structuralism (1920s, Prague Linguistic Circle), linguistic functionalism (1920s, Prague Linguistic Circle), proletkult (1920s, international), Poetism (1920s, Teige and Nezval), factography (1920s, LEF), aesthetic object (1930s, Ingarden), phoneme (Jakobson), morphophonology (Trubetzkoy), genetic structuralism (1960s, Goldmann), communicative functions (1960s, Jakobson)

People

Networks

Places

Moscow, 1910s-20s
Prague, 1920s-30s

Audiovisual compositions, synaesthesia

Summary

  • There will be a day when a composer will compose music with a notation that will be conceived in terms of music and light… and that day, the artistic unity we were talking about will probably be closer to perfection.., Vladimir Baranoff-Rossiné, 1925.
  • Specially designed (colour) pianos (or organs) were constructed by artists like Vladimir Baranoff-Rossiné, Alexander Scriabin, Baranov, Sándor László, Zdeněk Pešánek and Erwin Schulhoff in an attempt to navigate between musical and visual realms. Scriabin imagined using a "Tastiera per Luce" (color piano) for the performance of his Promethée; Baranoff-Rossinés "piano optophonique", projected light through painted and rotating glass plates, whose colors and rhythms closely complemented the music (1916, dev since 1912), and which later culminated in the colour organ, "clavilux": this synthetic instrument could spread sounds and coloured light at the same time, because every note played corresponded to one colour disc, projected by a light beam onto the screen. With their "Spectrophon-Piano", Pešánek and Schulhoff attempted to create an audio-visual sculpture - an idea that has been revisited many times by more contemporary artists like Christian Marclay in his Video Quartet (2002) and Pierre Huyghe's Light Box (2002). Baranov’s optophonic piano was presented in the Theatre of Vsevolod Meyerhold and in 1924 in the Bolshoi Theater in Moscow. Like the instruments of the Hungarian László (Sonchromatoskop, 1920), this piano enabled the dynamic synthesis of music and coloured light in performances in big concert halls.

People

Networks

See also

Experimental film and video art

Terms

montage (1920s, Eisenstein), Kino-Pravda (1922, Vertov), Cine-Eye (1920s, Vertov)

People

Events

Sub Voce exhibition (Budapest, 1991), Ex Oriente Lux (Bucharest, 1993), WRO Biennale (Wroclaw, since 1993)

Networks

See also

Multimedia environments

People

Networks

See also

Cybernetics

Electronic music

Summary

  • Lev Termen, the patriarch of musical electronics, a talented physicist, created Aetherophone (later called the Theremin or Thereminovox) in 1920 - unsurpassed till now in the family of performing electronic instruments (owing to its keen sound control options).
  • Other early instruments include Sonchromatoskop by Sándor László (1920), Sonar by N.Anan'yev (c1930), Ekvodin by V.A.Gurov (1931), Emiriton by A.Ivanov and A.Rimsky-Korsakov (1932). While in the United States, Termen also created Theremin Cello (electric Cello with no strings and no bow, using a plastic fingerboard, a handle for volume and two knobs for sound shaping, c1930), Theremin keyboard (a piano-like device, c1930), Rhythmicon (world's first drum machine, 1931), and Terpsitone (platform that converts dance movements into tones, 1932). In the 1930s, professor E.A.Sholpo established a laboratory for sound synthesis where he developed his Variophone (1932), a precursor of the synthesizers. A.A.Volodin, a scientist in the field of electronic sound synthesis, designed a whole series of new instruments.
  • In Moscow, Eugene Murzin constructed one of the world's first synthesizers in 1955. He named his invention, ANS synthesizer, in honor of Alexander Nikolayevich Scriabin, as the ANS worked on the principle of the transformation of light waves into electronic soundings. The compositions created on the ANS in the Moscow Studio of Electronic Music since 1958 played the major role in the development of electronic music in USSR. In the 1960s, the ANS was the only synthesizer in the Union, and became the training ground of a great number of young composers, including one of the most dedicated experimenters in the field of electronic music, Edward Artemyev. Artemyev's compositions are characterized by a constant search for new sounds and by a desire to obtain maximum timbre modification from minimal sound material. In the music for A. Tarkovsky's film Solaris (1972), Artemyev discovered an entire realm of unusual (for that time) sound effects; he founded a new trend in electronic music that musicologists have named 'space music'. (In 1972 the studio acquired the module synthesizer "SYNTHI-100" of English company "Taylor".)
  • Warsaw Autumn Festival initiated by Baird and Serocki presented since 1956 works by Berg, Schönberg, or Bartók; Stockhausen or Schaeffer visited. Polish Radio Experimental studio was founded by Patkowski in 1957.
  • In Czechoslovakia, the first representative Seminar on Electronic Music, organized on the initiative of several Czech and Slovak composers, musicologists and sound technicians, was held at the Research Institute of Radio and Television in Pilsen in 1964. It appeared a miracle to many people interested in this kind of musical creativity. The seminar dealt seriously and manifestly with questions of electronic music, for the first time in Czechoslovak cultural context. The representative survey on electronic music written by Czech musicologist Vladimir Lebl and published in 1966 was the fundamental theoretical work, followed by his translation of the book "La Musique concrete" by Pierre Schaeffer. Several compositions by the classicists of concrete, tape and electronic music appeared in radio broadcasts in 1965 and the first LP with electronic music pieces by both inland and foreign composers was published as soon as in 1966. Followed by foundation of experimental music studios in Bratislava (1965) and Pilsen (1967).
  • During 1950s-70s the number of composers visited New Music courses in Darmstadt (Kotonski, Piňos, Jeney, Sáry), studied and worked with studios WDR Cologne (Kotonski, Eötvös, Dubrovay), GRM Paris (Kotonski, Kabeláč, Piňos, Vidovszky), Munich (Piňos), STEM Utrecht (Kabeláč), or IRCAM Paris (Eötvös).
  • Gorizont became known as some sort of Russian version of Kraftwerk, releasing an LP by the "Soviet State" record label Melodia.

Terms

musique concréte (1949, Schaeffer, Paris), elektronische Musik (1950, Eimert and Meyer-Eppler, Cologne), New Music, synthesizer (ANS synthesizer, 1955, Moscow; RCA Music synthesizer, 1955), white noise, vocoder, atonal music, serialism

Studios

Polish Radio Experimental Studio Warsaw (1957, Patkowski), Experimental studio of electronic music Moscow (1958, Murzin), Experimentalstudio für künstliche Klang- und Geräuscherzeugung Berlin (1962), Experimental Studio of Slovak Radio (1965, Kolman), Experimental Studio of Czech Radio Pilsen (1967-94), New Music Studio Budapest (1970), Electro-acoustic Music Studio at Academy of Music Krakow (1973, Patkowski), Electronic music studio Sofia (1974), Electroacoustic Music Studio of the Hungarian Radio Budapest (1975, Decsényi), Audiostudio of Czechoslovak Radio Prague (1990-94), Theremin Center Moscow (1992, Smirnov)

People

Places

Warsaw, mid 1950s-60s
Moscow, mid 1950s-60s
Prague and Pilsen, 1960s

See also

Computer art

Terms

new materials, information aesthetics (1960s, Bense and Moles)

People

Networks

See also

Media theory

People

Vilém Flusser (Prague/Germany/Brazil)

Art theory, history, and criticism

People

Jindřich Chalupecký (Prague), Jiří Valoch (Prague), Tomáš Štrauss (Bratislava/Germany), Igor Zabel (Ljubljana), Boris Groys (Moscow/Berlin), Marina Grzinic (Ljubljana), Piotr Piotrowski (Poznan/Warsaw), Viktor Misiano (Moscow), Keiko Sei (Brno/Karlsruhe/Thailand), Tomáš Pospiszyl (Prague), Bojana Pejić (Belgrade/Berlin), IRWIN (Ljubljana), Boris Buden (Zagreb), Georg Schöllhammer (Vienna), Marian Mazzone, Reuben Fowkes, Gerald Raunig (Vienna), Inke Arns (Dortmund), Dmitry Vilensky (St. Petersburg)

International networks

Third Text, Springerin magazine (Vienna), Tranzit (Vienna), EIPCP (and Transversal journal, Vienna), Chto delat (St. Petersburg), SocialEast, Prelom magazine (Belgrade)

More

See also Media art

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