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Introduction Introduction
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Scenes 1 and 2 Scenes 1 and 2
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Revealing the Invisible Revealing the Invisible
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Scenes 2b, 3, 4 Scenes 2b, 3, 4
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Pierre Schaeffer and Acousmatic Music Pierre Schaeffer and Acousmatic Music
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Scene 5 Scene 5
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Spectralism’s Technophilia Spectralism’s Technophilia
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Scene 6—Transformation; Exit Scene 6—Transformation; Exit
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Further Reading Further Reading
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Notes Notes
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Expression and Technologies of Perception in Zosha Di Castri and David Adamcyk’s Phonobellow
Get accessDepartment of Music, Wheaton College
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Published:18 August 2022
Cite
Abstract
This chapter considers the legacy of the spectral school regarding their uses of and attitude towards technology. Spectralism is a musical practice fundamentally mediated by technology, and the ways in which this mediation is manifest are highly diverse, exposing the heterogeneous assemblage that constitutes “technology.” The chapter considers excerpts from pieces by Grisey and Murail against Zosha Di Castri and David Adamcyk’s 2015 piece Phonobellow, an evening-length music theatre work for five performers and electronics which centers around a massive wooden bellows. That structure, the phonobellow, is part musical instrument, part spectacle; it transforms repeatedly through the piece, from a comically large evocation of early cameras to a monstrous structure with viscera comprised of musical instruments. Though familiar pitch-centric hallmarks of spectralism are not central to the piece, the author argues that it emerges from a tradition of musical inquiry into technology and expression that characterizes the particular strand of modernism that included the spectralists.
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