Dissertations / Theses on the topic 'Luigi Nono'

Tout a commencé à partir de l'intuition qu'il existait un lien entre musique et architecture, auxquelles j'ai consacré beaucoup de temps et d'études, en suivant et complétant deux parcours académiques parallèles. Après un long processus d'analyse des sujets de réflexion infinis que présentait le thème, j'ai choisi de me concentrer sur un des exemples les plus significatifs de collaboration entre un architecte et un musicien du XXe siècle : l'œuvre Prometeo, tragédies dell‘ascolto composée par Luigi Nono en collaboration avec Massimo Cacciari et Renzo Piano. Cette recherche a été effectuée principalement sur la base de la lecture des écrits de Luigi Nono et sur l'étude des manuscrits, des dessins et de la correspondance conservés dans l'Archivio Luigi Nono à Venise et dans les archives de la Fondazione Renzo Piano à Gênes. J'ai ensuite interviewé quelques-unes des personnes liées de diverses manières à l'expérience de Prometeo. Ma thèse est organisé en trois parties: une première partie qui concerne le rôle de l'espace dans la musique du XXe siècle et dans les œuvres de Luigi Nono précédentes par rapport à Prometeo : une deuxième partie dans laquelle est approfondi le processus de composition qui a conduit aux représentations de Prometeo à Venise, Milan et Paris ; une troisième partie dans laquelle j'ai pris en compte ce qui s'est passé après Prometeo et j'ai réfléchi sur les contributions que cette expérience peut apporter à la conception d'espaces pour la musique, en analysant différentes versions de l'œuvre sans l'arche et en prenant en considération les projets de l'auditorium de l'International Art Village de Akiyoshidai et de la salle de la nouvelle Philharmonie de Paris
Architecture and music. Space and time. Sound. Experience. These are the key words on which my research is based. It all started from the intuition of the existence of a link between two disciplines to which I have devoted much time and study, along two parallel academics paths: the school of architecture and the conservatory. After a long process of identification and analysis of the infinite possible approaches to the topic, I chose to focus on one of the most emblematic example of collaboration between an architect and a musician of the twentieth century: "Prometeo, tragedia dell’ascolto" (1984), composed by Luigi Nono in collaboration with Massimo Cacciari and Renzo Piano. Through the study of Prometeo, I was able to deal with many possible interpretations of the interdisciplinary relationship between music and architecture. The research was mainly carried out by analysing the writings of Nono and by studying the documents stored at Archivio Luigi Nono and Fondazione Renzo Piano. The dissertation consists of three parts: the first part deals with the role of space in Nono's works preceding the Prometeo, highlighting the importance of cultural and sound environment in Venice: the second part explores the composition process that led to the set-up Promefeo in Venice, Milan and Paris; the third part deepens what happened after Prometeo, and reflects on the contributions that this experience can give to the design of spaces for music, analysing different setups of the play without the ark, and studying the projects of Akiyoshidai's International Art Village and the concert hall of the new Philharmonie in Paris. The study of the experience of Prometeo aims to encourage the curiosity to research, and the experimentation of those 'infiniti possibili’ of the architectural and musical composition mentioned by Nono

Architettura e musica. Spazio e tempo. Suono. Esperienza. Queste le parole chiave da cui ha preso avvio la mia ricerca. Tutto è iniziato dall’intuizione dell’esistenza di un legame tra due discipline cui ho dedicato molto tempo e studio, completando due percorsi accademici paralleli, la Facoltà di architettura e il Conservatorio. Dopo un lavoro d’individuazione e analisi degli infiniti spunti di riflessione che il tema offriva, ho focalizzato l’attenzione su uno degli esempi più emblematici di collaborazione tra un architetto e un musicista realizzatasi nel Novecento: Prometeo, tragedia dell’ascolto (1984), composta da Luigi Nono con la collaborazione di Massimo Cacciari e Renzo Piano. Attraverso lo studio di Prometeo ho potuto affrontare la trattazione di molte delle possibili declinazioni del rapporto interdisciplinare tra musica e architettura. La ricerca si è svolta principalmente sullo studio dei materiali conservati presso l’Archivio Luigi Nono e l’archivio della Fondazione Renzo Piano. La tesi è organizzata in tre parti: una prima parte in cui si affronta il tema del ruolo dello spazio nelle opere di Nono precedenti a Prometeo, facendo emergere l’importanza dell’ambiente culturale e sonoro veneziano; una seconda parte in cui si approfondisce il processo compositivo che ha portato alle rappresentazioni di Prometeo a Venezia, Milano e a Parigi; una terza parte in cui si prende in considerazione quanto avvenuto dopo Prometeo e si riflette sui contributi che questa esperienza può portare alla progettazione di spazi per la musica, analizzando diversi allestimenti dell’opera senza arca e prendendo in considerazione i progetti dell’auditorium dell’International Art Village di Akiyoshidai e della sala della nuova Philharmonie di Parigi. Lo studio dell’esperienza di Prometeo ha lo scopo di stimolare la curiosità verso la ricerca e la sperimentazione di quegli infiniti possibili della composizione architettonica e musicale di cui parla Nono.
Architecture and music. Space and time. Sound. Experience. These are the key words on which my research is based. It all started from the intuition of the existence of a link between two disciplines to which I have devoted much time and study, along two parallel academics paths: the school of architecture and the conservatory. After a long process of identification and analysis of the infinite possible approaches to the topic, I chose to focus on one of the most emblematic example of collaboration between an architect and a musician of the twentieth century: "Prometeo, tragedia dell'ascolto” (1984), composed by Luigi Nono in collaboration with Massimo Cacciari and Renzo Piano. Through the study of Prometeo, I was able to deal with many possible interpretations of the interdisciplinary relationship between music and architecture. The research was mainly carried out by analysing the writings of Nono and by studying the documents stored at Archivio Luigi Nono and Fondazione Renzo Piano. The dissertation consists of three parts: the first part deals with the role of space in Nono's works preceding the Prometeo, highlighting the importance of cultural and sound environment in Venice; the second part explores the composition process that led to the set-up Prometeo in Venice, Milan and Paris; the third part deepens what happened after Prometeo, and reflects on the contributions that this experience can give to the design of spaces for music, analysing different setups of the play without the ark, and studying the projects of Akiyoshidai's International Art Village and the concert hall of the new Philharmonie in Paris. The study of the experience of Prometeo aims to encourage the curiosity to research, and the experimentation of those 'infiniti possibili' of the architectural and musical composition mentioned by Nono.

Architettura e musica. Spazio e tempo. Suono. Esperienza. Queste le parole chiave da cui ha preso avvio la mia ricerca. Tutto è iniziato dall’intuizione dell’esistenza di un legame tra due discipline cui ho dedicato molto tempo e studio, completando due percorsi accademici paralleli, la Facoltà di architettura e il Conservatorio. Dopo un lavoro d’individuazione e analisi degli infiniti spunti di riflessione che il tema offriva, ho focalizzato l’attenzione su uno degli esempi più emblematici di collaborazione tra un architetto e un musicista realizzatasi nel Novecento: Prometeo, tragedia dell’ascolto (1984), composta da Luigi Nono con la collaborazione di Massimo Cacciari e Renzo Piano. Attraverso lo studio di Prometeo ho potuto affrontare la trattazione di molte delle possibili declinazioni del rapporto interdisciplinare tra musica e architettura. La ricerca si è svolta principalmente sullo studio dei materiali conservati presso l’Archivio Luigi Nono e l’archivio della Fondazione Renzo Piano. La tesi è organizzata in tre parti: una prima parte in cui si affronta il tema del ruolo dello spazio nelle opere di Nono precedenti a Prometeo, facendo emergere l’importanza dell’ambiente culturale e sonoro veneziano; una seconda parte in cui si approfondisce il processo compositivo che ha portato alle rappresentazioni di Prometeo a Venezia, Milano e a Parigi; una terza parte in cui si prende in considerazione quanto avvenuto dopo Prometeo e si riflette sui contributi che questa esperienza può portare alla progettazione di spazi per la musica, analizzando diversi allestimenti dell’opera senza arca e prendendo in considerazione i progetti dell’auditorium dell’International Art Village di Akiyoshidai e della sala della nuova Philharmonie di Parigi. Lo studio dell’esperienza di Prometeo ha lo scopo di stimolare la curiosità verso la ricerca e la sperimentazione di quegli infiniti possibili della composizione architettonica e musicale di cui parla Nono.
Architecture and music. Space and time. Sound. Experience. These are the key words on which my research is based. It all started from the intuition of the existence of a link between two disciplines to which I have devoted much time and study, along two parallel academics paths: the school of architecture and the conservatory. After a long process of identification and analysis of the infinite possible approaches to the topic, I chose to focus on one of the most emblematic example of collaboration between an architect and a musician of the twentieth century: "Prometeo, tragedia dell'ascolto” (1984), composed by Luigi Nono in collaboration with Massimo Cacciari and Renzo Piano. Through the study of Prometeo, I was able to deal with many possible interpretations of the interdisciplinary relationship between music and architecture. The research was mainly carried out by analysing the writings of Nono and by studying the documents stored at Archivio Luigi Nono and Fondazione Renzo Piano. The dissertation consists of three parts: the first part deals with the role of space in Nono's works preceding the Prometeo, highlighting the importance of cultural and sound environment in Venice; the second part explores the composition process that led to the set-up Prometeo in Venice, Milan and Paris; the third part deepens what happened after Prometeo, and reflects on the contributions that this experience can give to the design of spaces for music, analysing different setups of the play without the ark, and studying the projects of Akiyoshidai's International Art Village and the concert hall of the new Philharmonie in Paris. The study of the experience of Prometeo aims to encourage the curiosity to research, and the experimentation of those 'infiniti possibili' of the architectural and musical composition mentioned by Nono.

The thesis discusses space as a central element in Luigi Nona's composition and performance practices. Focusing chiefly on the pieces with tape and live-electronics composed after 1960, the dissertation attempts to illustrate the major influences that have contributed to the development of the Nono's spatial practice, with particular emphasis on his involvement with technology and theatrical practices ever since the detachment from Darmstadt in the late fifties. The musical and extra-musical implications of Nona's unique contribution to spatial music are discussed, in the hope that this work may become a useful practical contribution for future composers, performers and scholars, especially considering the lack of publications on the subject in English at the time of writing. The analysis is centred on the composer's use of acoustic space as a conveyor of meaning, designed to stimulate active and critical audience engagement. Particular emphasis is thus placed on the use of amplification, tape and live-electronics in performance, introducing notions such as 'doubling', 'con-fusion', fragmentation, non-linearity, simultaneity, mobility and multiplicity, which inform Nona's vision of space and are essential for a serious understanding of the composer's engaged spatial aesthetic.

Este trabalho se propõe a analisar alguns dos aspectos da obra tardia do compositor veneziano Luigi Nono (1924-1990), a partir da leitura de três obras: Fragmente-Stille, an Diotima para quarteto de cordas, Das atmende Klarsein para flauta baixo, coro e processamento em tempo real, e Omaggio a György Kurtág para contralto, flauta, clarinete baixo e processamento em tempo real. As três diferentes análises têm como foco três importantes princípios da poética tardia de Luigi Nono: as idéias de fragmentação, de limite e de suspensão.
This research studies some aspects of Luigi Nonos (1924-1990) late work. It is based on analysis and interpretation of three important works of the Venetian composer: Fragmente-Stille, an Diotima, for string quartet, Das atmende Klarsein, for bass flute, double-bass, choir and live electronics, and Omaggio a György Kurtág, for contralto, flute, bass clarinet and live electronics. Each of these investigations focuses on three important principles of Nonos late poetics: the ideas of fragmentation, limit and suspension.

« Je veux changer la conscience de mon prochain. Pour atteindre ce but, je dois me servir des moyens acoustiques de notre temps. » Prononcés en 1975, ces mots de Luigi Nono (Venise, 1924 - Venise, 1990) résument parfaitement la démarche d’un compositeur qui se définissait comme un « musicien-militant », choisissant délibérément de ne faire aucun départ entre le musical et le politique. Pour Nono, changer la conscience d’autrui revint ainsi à transformer sa perception du monde, via sa musique, en s’attachant à faire émerger les « infinis-possibles » du son. En tâchant d’établir des rapports intrinsèques entre formes de l’écriture et dimension politique dans l’œuvre de Luigi Nono, nous tentons de montrer dans cette thèse comment le compositeur s’employa, à travers sa musique — et notamment grâce à son travail sur la perception auditive —, à rejoindre ce que depuis son activité de militant communiste il essaya également de faire : élargir, altérer, multiplier le monde, en faire épanouir tous les possibles, le rendre plus juste aussi, et faire sourdre de nouvelles utopies à partir du laboratoire expérimental de ses compositions.Construit autour d’éléments biographiques et de textes fondamentaux du compositeur que nous tentons de faire dialoguer avec un certain nombre de penseurs du 20ème siècle — d’Adorno à Merleau-Ponty, en passant par Deleuze, Marcuse, Benjamin, Bloch ou encore Bachelard — notre travail s’adosse avant tout aux compositions du Vénitien. Nous en proposons le panorama le plus complet possible, tout en focalisant notre attention sur certaines œuvres en particulier (chronologiquement : Due espressioni [1953] ; Liebeslied [1954] ; Canti di vita e d’amore [1962] ; La Fabbrica illuminata [1964] ; Como una ola de fuerza y luz [1971] ; …sofferte onde serene… [1976] ; Fragmente-Stille, an Diotima [1979-1980] ; Das atmende Klarsein [1981] ; ¿Dónde estás hermano? [1982] ; Prometeo [1981-1985]), selon la relation qu’elles entretiennent avec chacun des trois thèmes que nous développons : perception, altérité et utopie
"I want to change the consciousness of my fellow human beings. To achieve this purpose, I must use the acoustic means of our time." Delivered in 1975, these Luigi Nono's words perfectly summarize the approach of a composer who defined himself as a "musician-activist" deliberately choosing not to make any difference between music and politics. For Nono, changing the consciousness of others, via his music, means changing their perception of the world by applying himself to bring out the "infinite possibilities" of the sound.This thesis tries to show intrinsic relationship between writing forms and political dimension in Luigi Nono’s works. So this contribution will endeavour to explore how the composer exerted himself through his music – particularly thanks to auditive perception – to link up with what he tried to do as a communist militant: widen, alter, multiply the world, make it open out all possibilities, make it fairer too, and arise new utopias from the experimental laboratory of his compositions.This work is built around biographical elements and fundamental texts of the composer which I try to make converse with a number of thinkers in the 20th century from Adorno to Merleau-Ponty, including Deleuze, Marcuse, Benjamin, Bloch or still Bachelard. It mainly leans on the Venetian’s compositions of which I propose the most complete panorama as possible, particularly focused on some chosen works: chronologically Due espressioni (1953); Liebeslied (1954); Canti di vita e d’amore (1962); La Fabbrica illuminata (1964); Como una ola de fuerza y luz (1971); …sofferte onde serene… (1976); Fragmente-Stille, an Diotima (1979-1980); Das atmende Klarsein (1981); ¿Dónde estás hermano? (1982); Prometeo (1981-1985), by the relation they have each other with the three themes that I develop: perception, otherness and utopia

This thesis presents an analysis of Luigi Nono’s Fragmente-Stille, an Diotima, as a starting point to investigate that this piece for string quartet provides in terms of the notions of sound and silence, the temporary and spatial constructions that it has given rise to, its connections with different compositions and texts written by the composer, its resonances in the postulations of other authors (musicians, writers and philosophers), and the political implications that every work of art entails
En aquesta tesi ens acostem a Fragmente-Stille, an Diotima de Luigi Nono per a, partint de la seva anàlisi, anar rastrejant el que posa en joc aquesta obra per a quartet de cordes: les concepcions del so i del silenci implicades, la construcció espaciotemporal que genera, els seus vincles amb les altres obres i els textos del compositor, les ressonàncies amb els pensaments d’altres autors (músics, escriptors, filòsofs) i les implicacions polítiques que comporta tota aposta de món que és una obra d’art
Doctorat en Ciències Humanes, del Patrimoni i de la Cultura

« Je veux changer la conscience de mon prochain. Pour atteindre ce but, je dois me servir des moyens acoustiques de notre temps. » Prononcés en 1975, ces mots de Luigi Nono (Venise, 1924 - Venise, 1990) résument parfaitement la démarche d’un compositeur qui se définissait comme un « musicien-militant », choisissant délibérément de ne faire aucun départ entre le musical et le politique. Pour Nono, changer la conscience d’autrui revint ainsi à transformer sa perception du monde, via sa musique, en s’attachant à faire émerger les « infinis-possibles » du son. En tâchant d’établir des rapports intrinsèques entre formes de l’écriture et dimension politique dans l’œuvre de Luigi Nono, nous tentons de montrer dans cette thèse comment le compositeur s’employa, à travers sa musique — et notamment grâce à son travail sur la perception auditive —, à rejoindre ce que depuis son activité de militant communiste il essaya également de faire : élargir, altérer, multiplier le monde, en faire épanouir tous les possibles, le rendre plus juste aussi, et faire sourdre de nouvelles utopies à partir du laboratoire expérimental de ses compositions.Construit autour d’éléments biographiques et de textes fondamentaux du compositeur que nous tentons de faire dialoguer avec un certain nombre de penseurs du 20ème siècle — d’Adorno à Merleau-Ponty, en passant par Deleuze, Marcuse, Benjamin, Bloch ou encore Bachelard — notre travail s’adosse avant tout aux compositions du Vénitien. Nous en proposons le panorama le plus complet possible, tout en focalisant notre attention sur certaines œuvres en particulier (chronologiquement : Due espressioni [1953] ; Liebeslied [1954] ; Canti di vita e d’amore [1962] ; La Fabbrica illuminata [1964] ; Como una ola de fuerza y luz [1971] ; …sofferte onde serene… [1976] ; Fragmente-Stille, an Diotima [1979-1980] ; Das atmende Klarsein [1981] ; ¿Dónde estás hermano? [1982] ; Prometeo [1981-1985]), selon la relation qu’elles entretiennent avec chacun des trois thèmes que nous développons : perception, altérité et utopie
"I want to change the consciousness of my fellow human beings. To achieve this purpose, I must use the acoustic means of our time." Delivered in 1975, these Luigi Nono's words perfectly summarize the approach of a composer who defined himself as a "musician-activist" deliberately choosing not to make any difference between music and politics. For Nono, changing the consciousness of others, via his music, means changing their perception of the world by applying himself to bring out the "infinite possibilities" of the sound.This thesis tries to show intrinsic relationship between writing forms and political dimension in Luigi Nono’s works. So this contribution will endeavour to explore how the composer exerted himself through his music – particularly thanks to auditive perception – to link up with what he tried to do as a communist militant: widen, alter, multiply the world, make it open out all possibilities, make it fairer too, and arise new utopias from the experimental laboratory of his compositions.This work is built around biographical elements and fundamental texts of the composer which I try to make converse with a number of thinkers in the 20th century from Adorno to Merleau-Ponty, including Deleuze, Marcuse, Benjamin, Bloch or still Bachelard. It mainly leans on the Venetian’s compositions of which I propose the most complete panorama as possible, particularly focused on some chosen works: chronologically Due espressioni (1953); Liebeslied (1954); Canti di vita e d’amore (1962); La Fabbrica illuminata (1964); Como una ola de fuerza y luz (1971); …sofferte onde serene… (1976); Fragmente-Stille, an Diotima (1979-1980); Das atmende Klarsein (1981); ¿Dónde estás hermano? (1982); Prometeo (1981-1985), by the relation they have each other with the three themes that I develop: perception, otherness and utopia

Luigi Nono's work Post-Prae-Ludium No.1 "per Donau" represents a model for the emerging genre of electroacoustic tuba music. It is important to preserve this electroacoustic work because of its value to the tuba literature. Not only is it one of the first electroacoustic works for the tuba, but it also was composed by a man who is highly regarded in the field of music composition. Its preservation will be difficult because of the rapid advancement in technology. Within the last three decades of existence, the technology has evolved three times. An examination of the performance practice in Post-Prae-Ludium was undertaken to understand the demand on the performer required to play this work. This study will look at both non-traditional performance practices, as well as an inherent problem of how the advancement of technology can actually threaten the survival of a work dependent upon a specific version of electronic technology. Nono worked in collaboration with Giancarlo Schiaffini to compose a work for tuba and live electronics. Correspondence with Schiaffini has provided his thoughts on the collaboration of Post-Prae-Ludium with Nono and given a better understanding of how to perform the work. Technology will change, and these current adaptations of Post-Prae-Ludium may not be valid in one or two decades. However, with the description and instruction given by Nono and Schiaffini, in addition to recordings made of Post-Prae-Ludium, there is a record from which to reproduce this work. This study provides a source allowing performers to reproduce this work, thereby preserving it for future performers.

Dans l'établissement de nouvelles bases d'écriture, d'une nouvelle culture, certains compositeurs, loin de rejeter leur passé veulent au contraire s'en inspirer. Mais cette référence au passé se fait par l’intermédiaire d'origines lointaines, remontant aux musiques anciennes. Luigi Nono, qui fait partie de ce nombre réduit, expose cette idée : s'inspirer du passé, agir dans son présent pour avoir le meilleur des futurs possibles. Il est alors primordial pour lui de s’inscrire dans une filiation historique et de constituer un pas supplémentaire dans l’évolution de l'histoire de la musique. Dans sa conférence « Texte-Musique-Chant » donnée à Darmstadt en 1960, il met en lien certaines de ses œuvres avec les musiques du passé, et notamment le Moyen Âge et la Renaissance. Suivant ce parallèle induit par le compositeur, ces présents travaux montrent la véracité de cette reprise des Anciens (et non une reprise fictive) en mettant en relation cinq œuvres vocales de Luigi Nono entre 1955 et 1960 (Il canto sospeso, La terra e la compagna, Cori di Didone, Sarà dolce tacere et « Ha Venido » Canciones para Silvia) et les musiques anciennes au travers de trois procédés de composition : la pluritextualité, la syllabisation et la spatialisation, procédés extraits de la conférence et des écrits du compositeur. Après avoir défini ces techniques d'écriture chez Luigi Nono, ces présents travaux établissent une comparaison avec les traces et annotations qu'il laisse dans ses partitions de musiques anciennes et nous éclairent sur sa reprise des Anciens
In establishing new basis of writing, a new culture, some composers, far from rejecting their past, want to use it. But this reference to the past is done through far-reaching origins, taking back to early music. Luigi Nono, one of these few, present this idea: to take inspiration from the past, act in the present for the best possible future. It is then crucial for him to set himself in a historic filiation and to institute an additional step in the evolution of the history of music. In his lecture “Text-Music-Singing” given in Darmstadt in 1960, he links some of his works with early music, especially of Middle Ages and Renaissance. Following this parallel inducted by the composer, present work shows the truth about this inspiration of the Ancients (and not a fictive inspiration) by linking five vocal works of Luigi Nono from 1955 to 1960 (Il canto sospeso, La terra e la compagna, Cori di Didone, Sarà dolce tacere and « Ha Venido » Canciones para Silvia) and early music through three processes of composition: pluritextuality, syllabisation and spatialisation, processes taken from the lecture and the writings of the composer. Once these techniques are defined in Luigi Nono’s works, present work will compare traces and notes he wrote in his early music scores and enlighten us on his inspiration of the Ancients

Il presente lavoro propone una lettura alternativa della vicenda musicale di Luigi Nono, partendo dalla vexata quaestio del suo impegno politico, che per lungo tempo lo ha ancorato a interpretazioni tendenziose e assolutamente riduttive della complessità della sua opera e figura d’intellettuale del Secondo Novecento. L’analisi, in seguito a una sommaria introduzione alla biografia artistica del compositore, passa a delineare l'orizzonte filosofico, ideologico e politico del compositore engagé, per poi focalizzarsi su tematiche evocate dalla rivista “Laboratorio Musica”, diretta dal compositore alle soglie degli anni Ottanta. Si tratta di una fonte almeno parzialmente inedita, di cui è stato condotto per la prima volta uno spoglio integrale, reso consultabile in appendice alla tesi. La collaborazione di Luigi Nono all’esperienza editoriale, programmaticamente aperta al superamento delle schematizzazioni accademiche di genere, è esaminata alla luce della curiosità onnivora manifestata dal compositore verso realtà musicali estranee - se non lontanissime - rispetto all'avanguardia colta, dal pop al folklore. La trattazione si spinge a sondare i confini labili tra i generi musicali codificati e i modi di fruizione e ricezione della musica, fino all’epoca attuale, suggerendo una via critica e consapevole per chi opera nel mondo dell’arte, in un convergere di atteggiamenti “attivi” da parte sia del creatore che del suo pubblico. Nelle conclusioni, si discute la possibilità di considerare quella noniana come un’estetica inclusiva, piuttosto che confinata nell’elitarismo tipico dell’avanguardia postweberniana.

Alors qu’il est interrogé sur la nature fragmentaire de l’écriture se faisant jour dans ses dernières œuvres, Luigi Nono affirme : « la logique du discours est pour moi quelque chose de terrifiant. » En signifiant ainsi son opposition au discours musical, le compositeur italien ne revendique pas seulement le refus du principe de déduction et l’univocité du développement : c’est le fondement même de l’expression musicale occidentale qu’il considère comme caduc. Car la musique écrite appartient aux disciplines du logos, domaine de la pensée et de sa loi d’intelligibilité auquel elle a longtemps été inféodée, même lorsque ses théoriciens ont revendiqué son autonomie. Aussi, la notion de discours musical se rapporte à un modèle de raisonnement hérité de la pensée syllogistique issue de la rhétorique aristotélicienne. Décliné au cours de son Histoire sous les méthodes du contrepoint, du développement ou encore de la variation, le principe d’engendrement causal de la forme révèle néanmoins son aporie à partir de la première moitié du XXe siècle. La génération de compositeurs se retrouvant à Darmstadt au lendemain de la Seconde Guerre Mondiale se confronte alors à une double difficulté. D’une part, le renouvellement des structures logiques de la musique apparaît comme une véritable urgence afin de libérer l’écriture musicale de la rigidité des systèmes qui l’ont dirigée depuis la fin de la Renaissance. D’autre part, l’avènement des nouvelles technologies dévoile la richesse du phénomène sonore et intime à repenser l’expression musicale au contact de ce matériau inédit qui ne peut se réduire aux procédés compositionnels instrumentaux. Dès lors, l’acte d’écriture s’enrichit d’une responsabilité critique, en ce qu’il doit se satisfaire à l’exigence d’une articulation logique tout en rompant avec la rigidité d’un discours univoque imposé à l’écoute. C’est dans ce contexte que Pierre Boulez et Luigi Nono propose une esthétique musicale mixte fondée sur la virtualité, l’espace et la résonance au cours des années 1980, instaurant un régime discursif unifiant l’hétérogène sans le contraindre ni l’abolir
When he is questioned about the fragmentary nature of the writing appearing in his last works, Luigi Nono asserts: “the logic of the discourse is something terrifying for me.” By standing against the musical discourse, the Italian composer does not just claim his refusal of the principle of deduction and the univocity of the development: he also considers the foundation of the western musical expression as obsolete. Indeed, written music belongs to the disciplines of the logos, the domain of the thought and its law of comprehensibility in which it was enfeoffed for centuries, even when the theorists claimed its autonomy. So, the notion of musical discourse relates to a model of reasoning inherited from the syllogistic thought of the Aristotelian rhetoric. Declined during its History under the methods of the counterpoint, the development or the variation, the principle of causal establishment of the form reveals its aporia since the first half of the 20th century.Then, the composers who went to Darmstadt after the World War II confront themselves with a double difficulty. On one hand, the renewal of the logical structures of the music appears as an urgency to release the musical writing of the rigidity of the systems which managed it since the end of the Renaissance. On the other hand, the advent of the new technologies reveals the richness of the sound phenomenon and suggest to reconsider the musical expression in order to integrate this material, which cannot be reduced to the writing processes of instrumental music. Therefore, the act of composing is enhanced by a critical responsibility because the composer has to fulfill the requirement of a logical articulation while he abolished the rigidity of an unambiguous discourse imposed on the listening. It is in this context that Pierre Boulez and Luigi Nono propose an electroacoustic aesthetics based on virtuality, space and resonance during the 1980s, establishing a discursive regime which unifies the heterogeneous without forcing it nor abolishing it

In questo studio si analizzano le particolari idee di tempo e musica che emergono dalle analogie e dai parallelismi dell’opera di due personalità del Novecento tanto incisive e discusse quanto distanti ed eterogenee: Ilya Prigogine (1917-2003) e Luigi Nono (1924-1990). Entrambi sono stati senza dubbio figure di primissimo piano nei loro ambiti di attività. Prigogine dopo l’assegnazione del premio Nobel è diventato un personaggio pubblico e grazie alla sua eloquenza si è guadagnato, fin dal discorso di ringraziamento per quel premio, l’appellativo di poeta della termodinamica. Nono nella musica e nella vita ha spesso sostenuto posizioni radicali e anticipatrici che, nell’evoluzione di quella sua opera di compositore, che è considerata una delle più significative del secondo Novecento, lo ha portato ad essere commemorato, nella targa affissa sulla sua casa veneziana, come maestro di suoni e silenzi. Entrambi si sono espressi ampiamente sul piano filosofico con idee e opinioni personalissime che hanno vivacemente animato, non senza polemiche, il dibattito culturale degli ultimi decenni del Novecento e tutt’oggi costituiscono un fertile ambito di riflessione e una stimolante eredità interdisciplinare. Non risulta che tra di loro ci siano stati contatti né diretti né indiretti. Si è quindi cercato di mettere in luce i punti d’intersezione dei loro percorsi biografici e culturali e di individuare nelle mappe dei loro pensieri musicali, scientifici e filosofici le aree di sovrapposizione maggiormente significative.
This study analyzes the particular ideas of time and music that emerge from the analogies and parallels of the work of Ilya Prigogine (1917-2003) and Luigi Nono (1924-1990 ): two personalities of the twentieth century as incisive and discussed as distant and heterogeneous. Both have been leading figures in their fields of activity. Prigogine after the Nobel Prize was award became a public figure and, thanks to his eloquence, he has earned, since the speech of thanks for that prize, the title of ‘Poet of thermodynamics’. In his life and also in his music Nono has often supported radical and anticipatory positions. So the evolution of his work as a composer, which is considered one of the most significant of the second half of the twentieth century, led him to be commemorated, on the plaque affixed to his Venetian house, as ‘Master of sounds and silences’. Both have expressed themselves extensively on a philosophical level with very personal ideas and opinions that have animated, not without controversy, the cultural debate of the last decades of the twentieth century and still constitute a fertile field of reflection and a stimulating interdisciplinary heritage. There is no evidence that they have had any direct or indirect contact. We therefore tried to highlight the intersection points of their biographical and cultural paths and to identify the most significant overlapping areas in the maps of their musical, scientific and philosophical thoughts.

Au sortir de la deuxième guerre mondiale, musique et technologie se rejoignent et, à travers les recherches conjuguées de différents domaines scientifiques, une réflexion nouvelle s’amorce sur l’évolution de la création humaine et sur le concept d’outil. Le questionnement relatif à l’histoire de la création s’affine, à travers lequel la notion de sémantique se démultiplie. Notre étude traite du concept de résonance sémantique. Elle élabore ce concept en mettant d’abord en perspective les étapes marquantes au début du XXe siècle dans le traitement du texte (travail sonore des poètes, théâtre et opéra radiophonique, psychanalyse), puis en décrivant, d’une part dans le champ scientifique, l’émergence des sciences cognitives depuis la première cybernétique et l’apport de leurs travaux pour les processus de création et de perception, et d’autre part dans le champ musical, les recherches aux studios de Paris, Cologne, Berlin et Milan. Sont ensuite mis en regard de manière approfondie, sous l’angle de la résonance sémantique, le texte et la musique dans certaines pièces électroacoustiques de Luciano Berio (Ritratto di città, C’è musica e musica, Chants parallèles, Visage, Laborintus 2), Bruno Maderna (Ritratto di città, Invenzione su una voce, Ages, Don Perlimplin, Ausstrahlung) et Luigi Nono (Das atmende Klarsein, Quando stanno morendo, Omaggio a György Kurtág, Risonanze erranti), des années 1950 aux années 1980
In the aftermath of World War II, music and technology met and, through the combined research of several scientific fields, new reflections arose regarding musical creation and the concepts of tools. The questioning about the history of creation is refined, widening the notion of semantics. Our study deals with the concept of semantic resonance. It develops this concept first by putting into perspective the main stages of the processing of text in the early twentieth century (the work of poets on sound, the theater and radio opera, psychoanalysis), then by describing, in the scientific field, the rise of the cognitive sciences since the first cybernetics and the contribution of their work on the processes of creation and perception, and, in the music field, the research in the studios in Paris, Cologne, Berlin and Milan. Within the framework of semantic resonance previously developed in the dissertation, a thorough parallel is then established between the text and music in some electroacoustic works by Luciano Berio (Ritratto di città, C’è musica e musica, Chants parallèles, Visage, Laborintus 2), Bruno Maderna (Ritratto di città, Invenzione su una voce, Ages, Don Perlimplin, Ausstrahlung) and Luigi Nono (Das atmende Klarsein, Quando stanno morendo, Omaggio a György Kurtág, Risonanze erranti), spanning from the fifties to the eighties

Le theme de cette recherche est l'analyse de la production lyrique contemporaine italienne (puccini, dallapiccola, berio, nono) en mettant en valeur les incidences de l'ecriture musicale dans le traitement du texte et ses repercutions sur la representation lyrique telle qu'elle devrait apparaitre aujourd'hui. L'opera italien contemporain propose une nouvelle forme d'ecoute ainsi qu'un nouveau rapport du spectateur a l'image de la scene. La constitution de l'image incombe au metteur en scene desormais considere comme veritable lecteur / createur de l'oeuvre, celui sans qui l'oeuvre ne peut exister. La place du metteur en scene est inscrite dans l'oeuvre et le travail effectue sur l'oeuvre contemporaine s'avere necessaire aussi pour l'oeuvre du passe. The purpose of this research is to analyse the contemporary italian opera production (puccini, dallapiccola, berio, nono). We tried to see what sort of consequences the new way of writing music and considering text had on the opera representation. The italian contemporary opera proposes a new way of listening music and a new relation between the audience and scenical image. The new image has to be produced by a new kind of stage director considered as a real artist who can give an interpretation of the work. That's the only way opera can still exist. The part of the stage director is clearly request in modern opera, but it becomes necessary in productions of repertory operas too.

Le terme d'immersion sonore est apparu à la fin du XXe siècle dans divers domaines artistiques. Il recouvre de nombreuses dimensions, qu'elles soient physiques, métaphoriques ou même métaphysiques. Il n'y a cependant d'immersion sonore qu'avec, par ou pour le son.De la réalisation concrète du phénomène auditif dans toute son omnidirectionnalité à la mise en œuvre artistique et contextualisée de l'interaction avec le monde sonore en passant par une conjonction avec l'esprit écologique jusqu'à la quête d'états de conscience modifiés, l'immersion sonore se propose de communiquer différemment avec le monde à travers le son. En particulier, ce terme a pris une ampleur considérable avec la musique contemporaine, mettant en avant de nouveaux paradigmes et de nouveaux concepts, développant de nouvelles façons d'aborder des domaines tels que la corporalité, la multiplicité, l'interaction, la fusion, ou la spiritualité. La notion d'immersion sonore aide à comprendre plusieurs langages spécifiques et l'esthétique qui en découle implique de multiples tendances ou styles, et s'associe ainsi à la recherche d'une plus grande sensibilité, d'une spatialité élargie, d'une forme de temporalité non-linéaire ou de concepts philosophiques plus métaphorisés. Pour mieux comprendre les tenants et les aboutissants de ce phénomène, la thèse se concentre sur l'étude de l'univers de Luigi Nono à travers l'analyse de son œuvre Prometeo. Tragedia dell'ascolto (1981-1984, rév. 1985). Toutes les particularités de l'immersion sonore, de l'appréhension esthétique à la réalisation compositionnelle, y trouvent une illustration permettant d'en clarifier la portée artistique et humaine
The term “ sound immersion ” appeared in various artistic fields at the end of the 20th century. It covers many dimensions, whether they are physical, metaphorical or even metaphysical. However, sound immersion can only be achieved with, by or for sound.From the concrete realization of the auditory phenomenon in all its omnidirectionality, to the artistic and contextualized implementation of interaction with the sound world, via a conjunction with the ecological spirit to the quest for modified states of consciousness, sound immersion proposes to communicate differently with the world through sound. In particular, the term has gained considerable extent with contemporary music, highlighting new paradigms and concepts, developing new ways of approaching areas such as corporeality, multiplicity, interaction, fusion, or spirituality. The notion of sound immersion helps us to understand several specific languages, and the resulting aesthetic implies multiple trends or styles, and is thus associated with the search for greater sensitivity and expanded spatiality, a non-linear form of temporality or more metaphorical philosophical concepts. To better understand the ins and outs of this phenomenon, the thesis focuses on the study of Luigi Nono's universe through the analysis of his work Prometeo. Tragedia dell'ascolto (1981-1984, rev. 1985). All the particularities of sound immersion, from aesthetic apprehension to compositional realization, are illustrated, clarifying its artistic and human scope

La thèse, divisée en trois parties, constitue une introduction à l’univers musical de Giacomo Manzoni (Milan, 1932). La première partie aborde huit dimensions de l’œuvre du compositeur dans une perspective analytique (matériau, temps, dynamique, timbre, forme, figures sonores, espace et texte). Dans la deuxième partie, où figure une étude de Per Massimiliano Robespierre (1974) et de Doktor Faustus (1988), sont présentés les principaux axes de sa poétique : l’engagement et l’innovation. La dernière partie conceptualise la notion de matiérisme en tant que fondement de sa praxis compositionnelle. À ce propos, Atomtod (1964), sa troisième œuvre pour le théâtre musical, a été analysée. Des documents inédits, dont des esquisses de ses œuvres et une correspondance avec Luigi Nono, ont été commentés tout au long de la thèse. Les annexes incluent un catalogue chronologique et thématique des œuvres du compositeur, une édition critique bilingue des textes mis en musique, la traduction de son dernier livre (Parole per musica) et une discographie
This thesis, which consists of three parts, represents an introduction to Giacomo Manzoni’s (Milan, 1932) musical ideas. First part deals with eight dimensions of his work from an analytical point of view (material, time, dynamics, timbre, form, sound shapes, space and text). In the second part, which contains an analysis of Per Massimiliano Robespierre (1974) and Doktor Faustus (1988), two main axes of his poetics were examined: commitment and innovation. Last part conceptualizes the notion of materialism in his poetics, as it constitutes the basis of his musical praxis. To this end, Atomtod (1964), his third work for the stage, was analysed. Unpublished documents, like sketches of his works and a correspondence with Luigi Nono, were commented throughout the thesis. Appendices include a chronological and thematic catalogue of his works, a bilingual critical edition of the texts which he set to music, a French translation of his last book (Parole per musica) and a discography

Diss.--Fribourg-en-Brisgau, 1996.
Contient en annexe le texte du livret de Massimo Cacciari en italien avec la trad. allemande en regard (reproduction du programme de Frankfurt). Bibliogr. p. 253-262.

Thesis (Dr. of Musical Arts)--University of Cincinnati, 2007.
Title from electronic thesis title page (viewed Jul.10, 2007). Includes abstract. Keywords: contemporary music; computer music; electroacoustic; electro-acoustic; piano; tape; Christopher Bailey; Balladei; Luigi Nono; sofferte onde serene; Mario Davidovsky; Synchronisms; Jonathan Harvey; Tombeau de Messiaen; James Mobberley; Caution to the Winds; Into the Maelstrom; Katherine Norman; Trying to Translate Includes bibliographical references.

This work enters into debates about about the meaning and significance of messianism in the Anglophone context of 'continental philosophy'. It does so by investigating the work of two traditionally opposed German philosophers, T. W. Adorno and Martin Heidegger. These figures stand behind the alternative traditions of recent philosophical messianism: historical materialist and neo-Heideggerian, or post-Hegelian and anti-Hegelian. Where the former tradition classically proposes the possibility of progress in, or towards history, without clearly questioning the metaphysical grounds of this possibility, the latter tradition questions the ontological nature of grounding itself, but often at the price of forfeiting a concept of historical change. The tum to messianism within historical materialism, inspired by Walter Benjamin, involves an attempt to give an account of these grounds. While sympathising with the motivation behind this tum, I suggest that it risks upholding a metaphysics that is equally as problematic as the one it opposes. I seek to interpret Adorno's late conception of an expression of 'waiting in vain' as a critique of historical materialist messianism. Since Adorno's idea is fragmentary, and still relies upon traditional metaphysics, it is read in relation to Heidegger's ontological account of waiting, according to his overall understanding of metaphysical modernity as a will to domination. The question of waiting connects the thought of Adorno and Heidegger - this has been understated in the secondary literature. I suggest that the connection is all the more convincing when their respective ideas of waiting are understood in relation to their philosophies of music and of 'the musical'. This theme is examined within a broader context of music and philosophy. It is pursued in order to respond to the overall problematic. A 'musical' concept of waiting can address some of the metaphysical problems encountered in a philosophy 'after' messianism, because it can propose an alternative notion of promise. The example of this expression is the music of Luigi Nono. A critical examination of his works is taken to elucidate the spatiotemporal character of an expression of waiting in vain, in a manner that both enriches and problematises the solely philosophical readings.

Doze anos após a morte de Luigi Nono continua a verificar-se, no campo da Anàlise das suas obras, uma forte tendência para priveligiar os textos utilizados pelo compositor, ou as suas próprias declarações sobre as peças, em detrimento da análise técnico-compositiva. A reflexão estritamente musical sobre a Obra de Luigi Nono é pois, ainda insatisfatória. „Mas o pensamento de Nono é primordialmente (e foi-o sempre) um pensamento musical, um pensamento em e com sons”, recordava Jürg Stenzl já em 1985. O presente estudo procura opôr-se a esta tendência, constituindo-se numa análise exaustiva das técnicas compositivas, do método de trabalho do compositor, bem como das reais intenções estético-compositivas presentes em duas obras para piano de Luigi Nono: Como una ola de fuerza y luz e „.....sofferte onde serene...”. Às análises musicológicas clássicas de Partituras e Fitas Magnéticas acrescentam-se aqui os significativos contributos provenientes do estudo dos esquissos do compositor e das fitas magnéticas de trabalho em estúdio. A compreensão do processo compositivo, o entendimento do método de trabalho do compositor, bem como a reconstrução das várias fases compositivas são objectivos primordiais deste volume. As investigações analíticas aqui encetadas procuram, por isso, manter-se na maior proximidade possível relativamente ao pensamento e às intenções profundas de Luigi Nono, no próprio e exacto momento compositivo. As peças abordadas ocupam uma posição particular na Obra de Nono: Como una ola de fuerza y luz é a última peça composta antes da sua segunda Acção cénica intitulada „Al gran sole carico d’amore” e „.....sofferte onde serene...” é a primeira obra composta depois dela. Quão radical e incisiva foi para Nono a experiência Al gran sole carico d’amore, demonstram-no as análises musicais aqui apresentadas: das dramáticas e violentas erupções de Como una ola de fuerza y luz (Cap.1) até às sonoridades intimistas e poéticas de „.....sofferte onde serene...” (Cap.3) desvela-se um caminho interior que, através de inumeráveis estações, ilumina a famosa „Viragem” de Luigi Nono. A vontade de se colocar a si mesmo e à sua música em radical questionamento e de reiniciar o seu modo de ser humano e artístico, de forma diversa e nova, manifesta-se imediatamente após a estreia de Al gran sole carico d’amore. A história da génese da peça para Piano solo constitui pois um eminente contributo para a discussão da „Viragem” de Luigi Nono (Cap.2).
Zwölf Jahre nach Luigi Nonos Tod sind satztechnische Analysen seiner Werke immer noch als unzureichend zu bezeichnen. Von wenigen Ausnahmen abgesehen ist die Tendenz, auf die von Nono verwendeten Texte oder auf Nonos Äußerungen zu seinen eigenen Stücken einzugehen, statt seiner Kompositionstechniken in den Mittelpunkt zu stellen, keineswegs überwunden. „Aber Nonos Denken ist (und war stets) primär ein musikalisches Denken, ein Denken in und mit Tönen”, erinnerte Jürg Stenzl bereits 1985. Die vorliegende Studie versucht, sich diesem Mangel entgegenzusetzen, indem sie eine gründliche, kompositionstechnisch bezogene Auseinandersetzung mit zwei Werken von Nono darstellt. Zu den klassischen musikwissenschaftlichen Analysen von Partituren und Zuspielbändern wurden hier wichtige Erkenntnisse aus der Skizzenbetrachtung miteinbezogen. Das Nachvollziehen des kompositorischen Prozesses, das Verstehen der Vorgehensweise des Komponisten sowie die Rekonstruktion der verschiedenen Kompositionsstadien sind Hauptanliegen dieses Bandes. Aus diesem Grund versuchen die vorliegenden analytischen Untersuchungen, sich so eng wie möglich an Luigi Nonos Denkweise und innerlichen Vorstellungen über die Stücke zu halten. Die behandelten Werke nehmen in Nonos gesamten Oeuvre eine besondere Position ein: Como una ola de fuerza y luz ist das letzte Stück vor seiner zweiten Azione scenica „Al gran sole carico d’amore”, „.....sofferte onde serene...” das erste danach. Wie einschneidend die Erfahrung Al gran sole carico d’amore für den Komponisten war, zeigen die musikalischen Analysen der hier untersuchten Stücke: von den gewaltigen Ausbrüchen des Como una ola de fuerza y luz (Kap.1) bis auf die poetischen Klänge von „.....sofferte onde serene...” (Kap.3) ist ein Weg zu erkennen, der durch unzählige Stationen Luigi Nonos berühmte „Wende” durchleuchtet. Der Wunsch, sich selbst und seine Musik radikal in Frage zu stellen, und von Anfang an neu zu beginnen, ist gleich nach der Uraufführung von Al gran sole carico d’amore bei Nono festzustellen. Die Entstehungsgeschichte des Klavierstückes ist somit gleichzeitig ein Beitrag zu Luigi Nonos „Wende” (Kap.2).
Strictly musical analyses of Luigi Nonos works are, twelve years after his death, still to be considered as not satisfactory. The majority of academic papers about Nono display the tendency (with a few exceptions) to favourise the texts used by Nono (or his own words about his own pieces) instead of the employed compositional techniques. „Aber Nonos Denken ist (und war stets) primär ein musikalisches Denken, ein Denken in und mit Tönen”, remembered Jürg Stenzl in 1985. The present study tries to be a contribution to change this situation, by exposing and revealing the musical technical structure of two pieces by Nono. The analysed works occupy a particular place in Nonos complete Oeuvre: Como una ola de fuerza y luz is his last piece before of his second Azione scenica „Al gran sole carico d’amore”, „.....sofferte onde serene...” the first piece after it. The relevance of the experience Al gran sole carico d’amore to the composers decision of changing his musical style becomes evident after completion of the musical analysis of the two pieces here studied: from the violent eruptions of Como una ola de fuerza y luz (Chapter 1) to the poetical sonorities of „.....sofferte onde serene...” (Chapter 3) it is recognizable a clear path that, over several stations, lights Luigi Nonos famous „Wende”. The wish and decision to question himself in a radical way and to restart his musical thought from the very beginning can be noted immediately after the premiere of Al gran sole carico d’amore. The genesis of the piano piece becomes, therefore, an important contribution to Luigi Nonos „Wende” (Chapter 2).
Programa Doutoral em Música

This essay discusses the work of the Venetian composer Luigi Nono (29 January 1924 - 8 May 1990) in the context of Marxist aesthetics. Nono is the most explicitly political member of the Darmstadt generation. A card-carrying member of the Communist party whose titles and texts often directly refer to political personages and events, Nono bids the listener or critic to confront the problematic of political expression in instrumental music, a subject of inquiry at least as old as Plato (to whom Nono explicitly refers in Fragmente , his late string quartet that is the subject of examination here) and of crucial relevance since World War II, the cold war, and the rise of mass media. Yet the majority of literature devoted to his work has largely ignored the question of where his work and philosophical attitude locate themselves within the four major strands of Marxist aesthetics. The relationship between Nono's his work and his political perspective is either treated in an imprecise, undisciplined fashion, relying on cliches of existentialism, mysticism, or vaguely defined alternative modes of perception to stand in for the notion of opposition (Nono's fascination with Hölderlin is often invoked); or the element of ideology is ignored altogether, and the works are submitted to traditional post-serial analysis of compositional technique. Whereas both of these approaches do shed light on a challenging body of work, a brief examination of the four major models of a Marxist approach to art - the Marx/Engels, the Benjaminian, the Adorno,and the Bloch/Jameson - and the attempt to contextualize Nono's work within or against them situates this complex personality within the universe of the poltical talis qualis. A narratological take on Nono's late sting quartet Fragmente provides a demonstration of invoking literary theory to create a productive analogy between political readings of instrumental music and that of other artforms. Various analytic techniques employed by critical theory - techniques examining communication, culture, and political consciousness which themselves are drawn from linguistic and analytic philosophy, symbolic interactionism, structural linguistics, hermeneutics, semiology, poststructural psychoanalysis, and deconstruction - may not simply be borrowed by the musicologist. These strategies can be fruitfully transposed, in the mathematical sense, wherein a limited number of elements within the critical structure are exchanged provided that others are fixed. The essays explores one example of such an exchanged element: Nono's use of polyvalent quotations. Other elements are available to the musicologist via the classic Husserlian move of Einklammerung, the "phenomenological reduction." Jameson had no particular personal or professional association with Nono, and Jameson has no important writings on music. Nevertheless, Jameson was Nono's historical contemporary; Jameson was born only ten years after Nono; and Nono's work is much closer to the Bloch / Jameson model than that of Adorno, the passionate anti-bourgeois devotee of the Second Viennese School; or that of Benjamin, the passionate anti-bourgeois proponent of the "fragment," the thinker who plays the most superficially salient role in Nono's work. Jameson's 1981 book The Political Unconscious, written at the same time Nono wrote Fragmente, describes three non-dialectical analytical approaches, or "horizons," shared by the critic, the spectator, and the artist: the political, the social, and the historical. They form concentric circles. By situating Nono's work within Jameson's theory, Nono is revealed, far from the mystical/naive poet in the style of a Rothko or a Tarkovsky, as a wily, canny dramatist whose technique is conservative and neoromantic, if never regressive, always consciously bent against the postmodernity, properly speaking, of Cage.