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LATVIAN CONCEPT MUSICIN THE BEGINNING OF THE 21ST CENTURY

Ieva Gintere1

Abstract / Rsum Larticle est consacr au problme de dfinition dun courant de la musique Lettonne

contemporaine en face de la musique programmatique. Le courant est nomm dans cetterecherche la musique de concept parce quelle a pour son noyau une ide ou bien leconcept qui commande le matriel. Pour placer ce type de musique dans lhistoire etlenseigner dans un contexte histoirique, il est important de distinguer les principes de lamusique romantique et moderne. La musique de concept qui a apparu Lettonie dans la

premire dcennie du !" sicle, ressemble la musique programmatique dans quelquesaspects # elles ont toutes les deux un contenu extramusical $situ en dehors de musique, on

peut dire% et un code smantique qui laisse traduire les ides extramusicales dans les sons. &anmoins, la musique de concept est diffrente de la musique programmatique premirement par son code spcifique. La smantique de concept est tra'aille dans la structure profonde de l(u're # calcule dans les figures mathmatiques du rythme, parexemple. )est pourquoi on ne peut pas lentendre ou lire dans la partition musicale. Lideest cache, elle nou're pas par les associations seulement. *u+del de code, la musique deconcept est organise par un principe dit de temps+espace. )est un terme metaphorique

signifiant dans la musicologie une structure mou'ante qui est cependant limite par lesmoyens dexpression par une certaine figure du rythme ou une formule harmonique.

Le terme de la musique de concept est emprunt de courant de la musique a'ant+gardereprsente par -ohn )age, La onte /oung et leurs collgues. 0lle apparait en 0urope etaux 0tats+1nis dans les annes 23+es du !3 sicle, et a'ait aussi une ide extramusicale,code et un matriel trs simple et limite.

Key words: a'ant+garde music, programmatic music, music semiotics, code, timespace.

This study of concept music, the relatively new paradigm of contemporarymusic, is focused on the analytical aspects that can be used in pedagogy. Inorder to explain concept music in a process of academic teaching, and its placein music history, specific terms of code and timespace that characterise conceptmusic have to be taken into account.

The composers now producing work in the Latvian concept music genrewereborn in the 7 !" #n$ % !" of the ! th century" #rmands $tra%ds &1'(!),*+rti - i/ums &1'(0), uta 2aidere &1'((), $anta atniece &1'((), #ndris3%en4tis &1'(5), 6+nis 2etra-kevi7s &1'(5), 8ristaps 29tersons &1'5 ), $anta:u-s &1'51) among others.Con&e't ()"i& n be $e*ine$ #" a compositional paradigm in the field of extramusical semantics which appeared in Latvia

1 *ag. art. in philosophy and theory of culture. ;andidate of degree of 3octor of #rts &dr . art .) in

historical musicology, 6+%eps 4tols Latvian #cademy of *usic, iga, Latvia, e

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approximately during the last two decades. >orks that belong to this paradigmdemonstrate"

< an extramusical and coded idea incorporated in the deepest layers ofmusical texture,

< a semantic opacity, and a key offering an opportunity to ?break@ itscode,< the oeuvre has a holisticA idea &outlined as a compact structure, not as a

linear story),< and a kind of timespatial0 musical development.In some aspects contemporary Latvian concept music resembles the

tradition of the&on&e't ()"i& that flourishedin USA #n$ +e"tern E)ro'e$)rin, - !" #n$ 7 !" of the ! th century &;ope 1'(1" 1! B ;ope 1'((" (A< (0BA!Aestern urope in the 1'E!Js and lasted up to the 5!Js.This also is the case in the K$#, and ;age can be included in that genre. Itflourished brightly in&onte('or#r0 R)""i#n #n$ Lith)#ni#n ()"i& up untilthe 1''!Js and ran into the first decade of the 1st century in Latvia. Latvianconcept music resembles >estern uropean avantestern uropean avant

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?space@ of the sound &8PuregPan !!(" D!D

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uqarnas &1''') for piano, by the Latvian composer $anta atniece, is ane #('/e o* # &o$e$ (#teri#/. Its structure is dictated by a complex sign that isconcealed in deep layers of texture. The main idea of the work is an image ofmuFarna, the Islamic architectural element that is used as an ornament on

arches, domes and other places in sacral buildings. *uFarna has athree

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*aterial layout of the idea. ;oncept music is holistic" the idea affects thematerial as a totality instead of being laid out in a linear way. The developmentof the material is timespatial. It usually moves inside of a musical ?contour@determined by a certain mode of expression. 2rogram music in its turn has a

hori%ontal development, and it moves following the linear idea &$cruton!!E" A'DB 8rauklis 1'''" 'esleyan

Kniversity 2ress, *iddletown.;hristensen, rik &1''D). The musical timespace" a theory of music

listening. #alborg K2, #alborg.;ope, 3avid &1'(1). Uew directions in music. >m. ;. :rown ;o, Iowa.

;ope, 3avid &1'((). Uew music composition. $chirmer :ooks, Uew Nork.;ope, 3avid &1'50). Uew directions in music, nd ed. >m. ;. :rown

2ublishers, 3ubuFue.Clynt, enry &1'D1). ;oncept art http"WWhenryflynt.orgWaestheticsW

conart.html. '.1!. !1A.Giacco, Gra%ia & !!1). La notion de Ofigure@ che% $alvatore $ciarrino.

LJ armattan, 2aris.Gintere, Ieva & !11). The study of the Latvian concept music of the early

1st century" terminological issue. In" ?* %ikas akad9miPas raksti@ X>ritings ofthe Latvian #cademy of *usicY, vol. 5. Latvian #cademy of *usic, iga.2. 1(< .

Gintere, Ieva & !1 ). Latvian concept music" historial and theoreticalissues. In" O* %ikas akad9miPas raksti@ X>ritings of the Latvian #cademy of*usicY, vol. '. Latvian #cademy of *usic, iga. 2. 0

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8PuregPan, T. & !!() Z \ ^ , . _ ] ] ] ` _\XUew individual formsY. In" z _\] _ \ _ _ _q] ]]@ XTheory ofcontemporary music compositionY. q , _ . ;. E(D

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S&ore" b0 the L#t i#n &o('o"er":u-s, $anta & !!(). La ;annelle... XmanuscriptY.:u-s, $anta & !!5). 8 9 : ; < => ? 8& eiled) XmanuscriptY.:u-s, $anta & !!'). #d&vanta)G oU ;laN XmanuscriptY.3%en4tis, #ndris & !! ). $tan%a I. A1.1 .1'''. *usica :altica, iga.2aidere, uta & !1!). :lack Uightshade. erlag Ueue *usik, :erlin.2etra-kevi7s, 6+nis & !!E). *e%%ogiorno XmanuscriptY.atniece, $anta $!33V%. uqarnas W manuscriptY.i/ums, *+rti - $!33"%. PagXtnes i