| Popis: |
The recorder, for all that it continues to be maligned as an instrument of elementary school education, has played an important role at the centre of virtuoso art music written in the twentieth century. Avant-garde composers such as Luciano Berio and Louis Andriessen explored a series of previously unimagined tonal possibilities, but it was a small group of Japanese composers who appropriated and transformed the idiom in ways that still exert a strong influence on contemporary music. This chapter considers several of these Japanese composers working in the European post-serialist context with a particular focus on their use of the recorder. It looks at elements such as compositional and performance technique, the history and context of the composers under discussion, issues in instrumentation and the work of some other artists in the field, both contemporary with and following the Japanese group. In particular, it explores the use of extended techniques such as microtones and multiphonics and their influence on subsequent artists, placed in the context of trends in composition worldwide. |
