title: To the Concept of ‘Sound Object’ in Musical Theory and Composition Practice of the End of the 20th — the Beginning of the 21st Century
metadata.name: dc.contributor.author
metadata.value: Lavrova, Svetlana V.
metadata.lang: -
metadata.name: dc.date.accessioned
metadata.value: 2023-08-09T18:14:25Z
metadata.lang: -
metadata.name: dc.date.available
metadata.value: 2023-08-09T18:14:25Z
metadata.lang: -
metadata.name: dc.date.issued
metadata.value: 2023-03
metadata.lang: -
metadata.name: dc.identifier.citation
metadata.value: Lavrova, Svetlana. “To the Concept of ‘Sound Object’ in Musical Theory and Composition Practice of the End of the 20th — the Beginning of the 21st Century”. Vestnik of Saint Petersburg University. Arts 13, no. 1 (2023): 20–39. https://doi.org/10.21638/spbu15.2023.102 (In Russian)
metadata.lang: en_GB
metadata.name: dc.identifier.other
metadata.value: https://doi.org/10.21638/spbu15.2023.102
metadata.lang: -
metadata.name: dc.identifier.uri
metadata.value: http://hdl.handle.net/11701/43651
metadata.lang: -
metadata.name: dc.description.abstract
metadata.value: The article is devoted to the concept of “sound object”, fundamental category for music of the
  late 20th — early 21st century. It is considered from the standpoint of Pierre Schaeffer’s theory
  of concrete music, Helmut Lachenmann’s concrete instrumental music, Dennis Smalley’s
  spectromorphology, James Tenney’s gestalt theory, and is also interpreted within the philosophical
  framework of Graham Harman’s object-oriented ontology and Bruno Latour’s actor-
  network theory. The works of Beat Furrer, Peter Ablinger and Georg Friedrich Haas are
  also analyzed. The conclusion from the research is that in order to interpret the concept and
  phenomenon of a sound object in modern compositional practice, which is extremely diverse,
  musicological methods are not enough, and therefore, an appeal to modern philosophy can contribute to a more accurate interpretation and help analyze the objects of modern sound
  world in all their diversity.
metadata.lang: en_GB
metadata.name: dc.language.iso
metadata.value: ru
metadata.lang: en_GB
metadata.name: dc.publisher
metadata.value: St Petersburg State University
metadata.lang: en_GB
metadata.name: dc.relation.ispartofseries
metadata.value: Vestnik of St Petersburg University. Arts;Volume 13; Issue 1
metadata.lang: -
metadata.name: dc.subject
metadata.value: sound object
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Helmut Lachenmann
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: James Tenney
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Dennis Smalley
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Georg Friedrich Haas
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Peter Ablinger
metadata.lang: en_GB
metadata.name: dc.title
metadata.value: To the Concept of ‘Sound Object’ in Musical Theory and Composition Practice of the End of the 20th — the Beginning of the 21st Century
metadata.lang: en_GB
metadata.name: dc.type
metadata.value: Article
metadata.lang: en_GB
resources.filename: 02.pdf
resources.url: https://dspace.spbu.ru/bitstream/11701/43651/1/02.pdf
resources.format: Adobe PDF
resources.size: 779,16 kB