ERNST TOCH GEOGRAPHICAL FUGUE PDF

Ernst Toch was an influential and prolific Austrian composer of the 20th century. Fleeing Hitler he eventually settled in Los Angeles. The Geographical Fugue is. ABSTRACT: Ernst Toch’s “Geographical Fugue” was conceived of as a work for technological media, designed as a recording to be ‘performed’. Trin – i – dad and the big. Mis – sis – sip – pi and the. GEOGRAPHICAL FUGUE. Ernst Toch ORFEON UNIVERSITARIO. DE MALAGA.

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Jazz in Literature of the Weimar Republic. The Elements of Experimental Phonetics. Galgenlieder; a Selectiontranslated by Max Knight.

European Journal of Physiology Moreover, we also find further economy of means: What a putty, putty, putty. The tail end of the subject begins with Canada, then returns to Europe via the assonance Malaga, paired with Rimini and Brindisi. Canon of Titicaca Between Soprano and Bass, Measure 23 If we include all the words in the first full presentation of the fugue text measures 1—8 of the tenor partwe can see that Toch restricted himself to only a subset of the seventeen German vowels by using eight in total, with only seven appearing more than once: Make sure to watch it till the end!

Fuge aus der Geographie (Toch, Ernst)

Listen to Schwitters recite the Ursonate [external link on ubuweb]. Edited by John Elderfield, translated by Ann Raimes. During the Nazi era, spoken goegraphical pieces were often employed within Thingspiele, mass outdoor plays with propaganda messages. When Toch arrived in the United States inas a refugee from Nazi Germany, Cage sought him out and obtained permission for the Fugue to be published in English translation.

If we include all the words in the first full presentation of the fugue text measures 1—8 of the tenor partwe can see that Toch restricted himself to only a subset of the seventeen German vowels by using eight in total, with only seven appearing more than once: This linguistic tool is an abstraction of factors, including accent, and mouth geography, and tongue position, which may influence the actual location of the vowels during speech.

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Perhaps uniquely in music history, this electronic work has had an almost exclusively acoustic performance history of more than eight decades.

His version involves recording himself for all four parts, filtering the spoken words through different electronic processes, and speeding the whole thing up to approximately double speed. This close relationship between didactic music, radio and technology reappeared in the Berlin festival as well, with Hindemith and Toch represented both by pedagogical and technological contributions: Inhe fled Germany, ending up in Hollywood, where he composed music for films in addition to a substantial body of chamber, solo, and orchestral music.

The paths of the arrows in Example 5 in essence trace out the first two formants, or spectral peaks, geogdaphical vowel sound production.

The piece was first performed, in its original German, at the Neue Musik Berlin festival in June If the geographic names move from closed to open vowels, this is accompanied by motion front to back or back to front, giving the listener two types of information, or ttoch of location, along which to classify the changes in vowel sounds.

Perhaps the readiness of this piece for experimental reinterpretation stems from its origins in the conceptual and technological avant-garde of its day. It is written in strict fugal form, and consists of four voices, each enunciating various cities, countries and other geographical landmarks in true contrapuntal fashion. Toch also seems to be poking fun at the form of the school-fugue, a composition exercise that he surely encountered during his own musical training.

Yokohama Nagasaki Yokohama Nagasaki.

The addition of the post-production audio transformation renders it pedagogically edifying as well, a lesson on the possibilities of original music for gramophone. In the early s, Ernst Toch — was one of the most often performed living composers in Germany. As a cultural document, the fugue offers a wealth of information about Weimar Germany, revealing affinities with political and artistic trends as well as the state of phonetic research.

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Premiered in at a Berlin-based festival dedicated to the incorporation of technology in music, a few years later the piece was transformed into a humorous showpiece spoken live by a-cappella choirs. Only in one respect did the machine unfortunately deceive me: The text English translation of all the parts consists of various permutations of the following lines:. In terms of physical pronunciation, these vowel sounds have different points of origin.

Gramophone, Film, Typewritertrans. Indeed, the changes that affected the vowels upon increasing the playback speed stood at the forefront of his concerns, as he describes:.

It ends with a climactic finale featuring a sustained trill on the “R” of the word ” Ratibor! Media, Machines and the Ernsr Objectivity.

FUGUE: ERNST TOCH — THE GEOGRAPHICAL FUGUE Paul Sheftel

The work was composed as the third and final movement in Toch’s suite Gesprochene Musik Spoken Music. University of Chicago Press. Wagner later adopted the technique of Stabreim, or alliteration, as a solution to recovering the relationship between meaning consonantsfjgue emotions vowels. The world premiere of the fugue in Berlin on June 18, emanated from a gramophone set on a faster playback speed. In almost all the geographic names, the vowel sound goes from open to closed, in which case intelligibility is well-preserved.