{"id":1433,"date":"2020-12-14T12:41:11","date_gmt":"2020-12-14T10:41:11","guid":{"rendered":"https:\/\/harps.lmta.lt\/en\/?p=1433"},"modified":"2020-12-16T09:36:32","modified_gmt":"2020-12-16T07:36:32","slug":"defense-of-the-artistic-research-project-change-of-the-conception-of-tritone-and-systemic-constructivism-in-the-music-composition-of-the-20th-century","status":"publish","type":"post","link":"https:\/\/harps.lmta.lt\/en\/defense-of-the-artistic-research-project-change-of-the-conception-of-tritone-and-systemic-constructivism-in-the-music-composition-of-the-20th-century\/","title":{"rendered":"Defense of the artistic research project \u201c. Change in the Tritone Concept and Systemic Constructivism in the 20th Century Compositions\u201d"},"content":{"rendered":"

On December 9-10, 2020, the defense of\u00a0Bo\u017eena \u010ciurlionien\u0117\u2019s<\/b><\/strong> \u201c<\/b><\/strong>. Change in the Tritone Concept and Systemic Constructivism in the 20th Century Compositions\u201d <\/b><\/strong>will take place at the Lithuanian Academy of Music and Theatre. Artistic Supervisors: Prof. Rytis Ma\u017eulis, Prof. Habil. Dr. Gra\u017eina Daunoravi\u010dien\u0117. Copies of the research paper and its summary are available at the library of the Lithuanian Academy of Music and Theatre (Gedimino pr. 42)<\/p>\n

Online events. For participating please register until December 7 by the e-mail:\u00a0daiva.buivydiene@lmta.lt<\/a><\/em>.<\/p>\n

Defense of the artistic part<\/b>
\nDecember 9, 2020, 5 p.m.<\/strong><\/p>\n

PROGRAM<\/p>\n

Bo\u017eena \u010ciurlionien\u0117<\/strong>. Confessiones<\/em>\u00a0(2020)
\nBo\u017eena \u010ciurlionien\u0117<\/strong>. Time<\/em>\u00a0(2019) (Monday, Tuesday, Wednesday, Thursday, Friday, Saturday, Sunday<\/em>)
\nBo\u017eena \u010ciurlionien\u0117<\/strong>. Xertz<\/em>\u00a0(2018)
\nBo\u017eena \u010ciurlionien\u0117<\/strong>. Dead End<\/em>\u00a0(2019), from the album\u00a0Automatic Mind<\/em>r<\/p>\n

Defense of the research part<\/b>
\nDecember 10, 2020, 9 a.m.<\/strong><\/p>\n

CHAIRPERSON OF THE DOCTORAL THESIS DEFENCE BOARD:
\nProf. Vaclovas Augustinas (Lithuanian Academy of Music and Theatre)<\/p>\n

MEMBERS OF THE BOARD:
\nProf. Dr. Ri\u010dardas Kabelis (Lithuanian Academy of Music and Theatre)
\nProf. Habil. Dr. Wojciech Wid\u0142<\/span>ak (Academy of Music in Krak\u00f3w)
\nProf. Dr. Rima Povilionien\u0117(Lithuanian Academy of Music and Theatre)
\nProf. Dr. Antanas Ku\u010dinskas (Lithuanian Academy of Music and Theatre)<\/p>\n

REVIEWERS:
\nProf. Mindaugas Urbaitis (Lithuanian Academy of Music and Theatre)
\nAssoc. Prof. Dr. Audra Versek\u0117nait\u0117-Efthymiou (Lithuanian Academy of Music and Theatre)<\/p>\n

Abstract<\/strong><\/p>\n

The object of the research, the tritone, has a very extensive history of change in its concept, which leads to a particularly diverse range of its analysis. Despite a small size of the research object, the tritone is characterised by special tension both of its sound and the related issues. Research aim is to investigate the change in the tritone concept in music theory and compositional practice from the Middle Ages to the late 20th century.
\nTo attain the aim, the following tasks have been set:
\n1. To analyse the change in the tritone concept in music theory and compositional practice from the medieval tritone prohibition rule mi contra fa diabolus in musica est to its establishment in dissonant intervals and functions in the harmonic system of Classicism;
\n2. To unfold the extensive evolution of the tritone concept in the harmony and compositional practice of the 20th century employing the context of theoretical and individual compositional systems and the conducted acoustic research;
\n3. To study the constructiveness of the tritone symmetry phenomenon in the series of the 20th century compositions, harmony, and on the vertical and the diagonal based on the more vivid examples of postwar avant-garde music;
\n4. To highlight the causes and processes of the loss of tritone relevance in the musical compositions of the second half of the 20th century;
\n5. To reveal the design and constructive expression of the tritone phenomenon in individual work: the case of Bo\u017eena \u010ciurlionien\u0117’s compositions.
\nThe study of change in the tritone concept can be divided into four main stages. The first was prohibition-avoidance, represented by G. Dufay, J. des Pr\u00e9s, J. Obrecht. The second stage was consistent predominance, found in the compositions of C. E. Bach, W. A. Mozart, and L. van Beethoven. The third stage, apotheosis, was illustrated by compositions of F. Liszt, J. M. Hauer, A. Sch\u00f6nberg, A. Webern, L. Nono, P. Boulez, and K. Stockhausen. Loss of relevance as the fourth level was exposed in musical works of G\u00e9rard Grisey, H. M. G\u00f3recki, and B. \u010ciurlionien\u0117.<\/p>\n","protected":false},"excerpt":{"rendered":"

On December 9-10, 2020, the defense of\u00a0Bo\u017eena \u010ciurlionien\u0117\u2019s \u201c. Change in the Tritone Concept and Systemic Constructivism in the 20th Century Compositions\u201d will take place at the Lithuanian Academy of Music and Theatre. Artistic Supervisors: Prof. Rytis Ma\u017eulis, Prof. Habil. Dr. Gra\u017eina Daunoravi\u010dien\u0117. Copies of the research paper and its summary are available at the […]<\/p>\n","protected":false},"author":5,"featured_media":1419,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-1433","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news"],"aioseo_notices":[],"aioseo_head":"\n\t\t\n\t\n\t\n\t\n\t\n\t\n\t\t