Durham E-Theses Liberating sounds: philosophical.

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Helmut Lachenmann talks to Lucas Fels about the genesis of Pression for solo cello. The documentary is followed by a performance of Pression by Lucas Fels, in the presence of the composer. 15 FEB 2015.

Renowned German composer Helmut Lachenmann’s music is expressive in extraordinary ways, requiring the performers to play their instruments via unusual techniques, making for both compelling listening and viewing. Lachenmann performs in and supervises these recordings with Ensemble Signal, one of America’s leading New Music ensembles.

A Performer’s Analysis as Part of the Interpretation Process Helmut Lachenmann’s Pression (1969, revised 2010) for solo cello is notated mostly prescriptively by indicating the physical actions that the cellist is supposed to make to realise the score.Because they form the basis of the score, I analyse Pression in terms of the performer’s actions, namely plucking, striking and bowing.

A research design provides a framework for the collection and analysis of data (Bryman and Bell, 2007). Data is divided into four types; secondary, primary, quantitative and qualitative. Selection of data type depends largely on the type of research (Buckley, 1995). The research objectives justify that descriptive research is the best method to achieve research objectives. The methods used in.

Lachenmann's thinking moves between the staunchly dialectical, Adornian stance with which he is generally associated as a composer of musica negative and a less familiar, affirmative concept of 'liberated perception'.

The present article aims to develop an approach to musical meaning that integrates performative dimensions systematically into a broadened concept of analysis, connecting particularly to recent.

This will be shown in detail through the study of Helmut Lachenmann's solo cello work Pression (1969) and its relation to other musical practices.

Helmut Lachenmann's 'Pression'. Lisa James Bachelor of Performing Arts (Music) Honours West Australian Academy of Performing Arts Edith Cowan University. USE OF THESIS. The Use of Thesis statement is not included in this version of the thesis. Abstract. The ability of new technologies of the early twentieth century to record, copy and manipulate music has permanently changed many of the.

Mad Girl's Love Song Analysis. the poem “Mad Girl’s Love Song”, written by poet Sylvia Plath, the reader first knows key information about Plath’s life so that they may better understand the context of the poem. Sylvia Plath was born in 1932, and she began attending Smith College in the year 1950. While she was attending the college.

Helmut Lachenmann's 3 research works with 6 citations and 127 reads, including: On My Second String Quartet ('Reigen seliger Geister').