|
''Mortuos Plango, Vivos Voco'' (1980) for eight-track tape is a musical composition by Jonathan Harvey, with the assistance of Stanley Haynes and Xavier Rodet,〔Machover, Tod (1984). ''Musical thought at IRCAM, Volume 1'', p.111. ISBN 978-3-7186-0272-8.〕 commissioned by the Centre Georges Pompidou in Paris. The two sounds contrasted are the tenor bell at Winchester Cathedral, England and the voice of the composers' son, then chorister there; and the text is taken from that written on the bell: "Horas Avolantes Numero, Mortuos Plango: Vivos ad Preces Voco (I count the fleeing hours, I lament the dead: the living I call to prayer)."〔Roads, ed. (1992). Harvey, p.91.〕 Music V was used to analyze and transform the sounds. The music is 'octophonic', being projected into the auditorium through a cube of eight channels: "the ideal listener is 'inside' the bell, its partials distributed in space; the boy's voice flies around, derived from, yet becoming the bell sound."〔Emmerson, Simon (2007). ''Living Electronic Music'', p.157. ISBN 978-0-7546-5548-0.〕 "The eight sections are based on one of the principal eight lowest partials. Chords are constructed from the repertoire of thirty-three partials (the bell ), and modulations from one area of the spectrum to another are achieved by means of glissandi."〔Manning, Peter (2004). ''Electronic and Computer Music'', p.201. ISBN 978-0-19-514484-0.〕 The bell's spectrum, though on C, contains F harmonic series partials, "'to curiously thrilling and disturbing effect.'"〔 "Such 'unanalyzable' secondary strike notes are quite common in bells."〔 The organization of the piece, "modulating 'from a bigger bell to a smaller bell,'" may, "be interpreted in a number of ways:"〔Downes, Michael (2009). ''Jonathan Harvey: Song offerings and White as jasmine'', p.22. ISBN 978-0-7546-6022-4. Quotes Harvey 1986c, p.181 and Whittall 1999, p.27.〕 #"as a quasi-tonal procedure" (analogous to (but distinct from) the traditional western tonal system."〔 ) #"as an attempt to transfer serial processes to electronic music" #"as a 'prolongation' of the initial inharmonic series" #"'as different perspectives on an object that is always present'" per Michael Clarke According to Curtis Roads, "Three compositions produced in the 1980s stand as good examples of compositional manipulation of analysis data: ''Mortuos Plango, Vivos Voco'' (1981) by Jonathan Harvey, ''Désintegrations'' (1983, Salabert Trajectoires) by Tristan Murail, and ''Digital Moonscapes'' (1985, CBS/Sony) by Wendy Carlos."〔Roads, Curtis (1996). ''The Computer Music Tutorial'', p.146. ISBN 978-0-262-68082-0.〕 ''Mortuos Plango, Vivos Voco'' is notable both within and without Harvey's career: "it showed the ==See also== *Song of the Bell 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Mortuos Plango, Vivos Voco」の詳細全文を読む スポンサード リンク
|