Page 110 - Weiss, Jernej, ur. 2018. Nova glasba v “novi” Evropi med obema svetovnima vojnama ?? New Music in the “New” Europe Between the Two World Wars. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 2
P. 110
nova glasba v »novi« evropi med obema svetovnima vojnama
of a musical piece composition, which lead to constitution of “new musi-
cal theory”, musical analysis and the theory of interpretation (in the broad
sense of this term).
The reasons why I began reading the aforementioned work were also
personally motivated. Recently I requested a partnership on the upcom-
ing project focused on performance practices in the 19th and 20th centu-
ries at the Faculty of Electrical Engineering and Communication at Brno
University of Technology where the habilitation thesis was written. Task of
my colleagues from the “Technical faculty” is to prepare a program suitable
to analyze an audio recording of an analysis of recorded music. We are in-
spired by some foreign works. In the plethora of current production we were
intrigued mostly by the book of Nicholas Cook, Beyond the Score. Music
as Performance (2013) and the activity of authors concentrated around the
Centre for the History and Analysis of Recorded Music (CHARM).1
While this topic is often discussed in the anglo-american musicology
on a local scale this topic is rather marginal. A rare exception is the work of
Milan Kuna, Miloš Bláha Time and Music. About the dramaturgy of the re-
sources in the musical and interpretative performances (1982).
II.
The analysis of sound recordings is still a relatively new discipline of musi-
cology although the approximate 120 years history of the musical data re-
cording offers a wide range of possibilities. Musical recordings are prefera-
ble to live production in terms of the description of time resources in music
for they allow more detailed and repeated measurement of time periods.
The effort of musicology research is to find objective parameters and data
from typically sound and time complicated musical recording or produc-
tion in real time, which can be clearly and distinctly documented, analyz-
ed and compared. The acquisition of this data in musicology research has
always been the domain of a music theorist in the role of a listener of a live
production or a recording, registering noticeable quantitative parameters
of the music stream. In the early stages the authors gathered the time data
using a stopwatch and careful acoustic verification. Such measurements are
1 About this topic more: José Antonio Bowen, “Tempo, duration, and flexibility:
Techniques in the analysis of performance,” Journal of Musicological Research 16, 2
(1996): 111–156; Hermann Danuser, Die Musik des 20. Jahrhunderts [= Neues Hand-
buch der Musikwissenschaft, 11] (Laaber: Laaber, 1992). Anders Friberg, “Generative
rules for music performance: a formal description of a rule system,” Computer Mu-
sic Journal 15, 2 (1991): 56–71
108
of a musical piece composition, which lead to constitution of “new musi-
cal theory”, musical analysis and the theory of interpretation (in the broad
sense of this term).
The reasons why I began reading the aforementioned work were also
personally motivated. Recently I requested a partnership on the upcom-
ing project focused on performance practices in the 19th and 20th centu-
ries at the Faculty of Electrical Engineering and Communication at Brno
University of Technology where the habilitation thesis was written. Task of
my colleagues from the “Technical faculty” is to prepare a program suitable
to analyze an audio recording of an analysis of recorded music. We are in-
spired by some foreign works. In the plethora of current production we were
intrigued mostly by the book of Nicholas Cook, Beyond the Score. Music
as Performance (2013) and the activity of authors concentrated around the
Centre for the History and Analysis of Recorded Music (CHARM).1
While this topic is often discussed in the anglo-american musicology
on a local scale this topic is rather marginal. A rare exception is the work of
Milan Kuna, Miloš Bláha Time and Music. About the dramaturgy of the re-
sources in the musical and interpretative performances (1982).
II.
The analysis of sound recordings is still a relatively new discipline of musi-
cology although the approximate 120 years history of the musical data re-
cording offers a wide range of possibilities. Musical recordings are prefera-
ble to live production in terms of the description of time resources in music
for they allow more detailed and repeated measurement of time periods.
The effort of musicology research is to find objective parameters and data
from typically sound and time complicated musical recording or produc-
tion in real time, which can be clearly and distinctly documented, analyz-
ed and compared. The acquisition of this data in musicology research has
always been the domain of a music theorist in the role of a listener of a live
production or a recording, registering noticeable quantitative parameters
of the music stream. In the early stages the authors gathered the time data
using a stopwatch and careful acoustic verification. Such measurements are
1 About this topic more: José Antonio Bowen, “Tempo, duration, and flexibility:
Techniques in the analysis of performance,” Journal of Musicological Research 16, 2
(1996): 111–156; Hermann Danuser, Die Musik des 20. Jahrhunderts [= Neues Hand-
buch der Musikwissenschaft, 11] (Laaber: Laaber, 1992). Anders Friberg, “Generative
rules for music performance: a formal description of a rule system,” Computer Mu-
sic Journal 15, 2 (1991): 56–71
108
