'...Out of and for machines...': time-space and time-form in George Antheil's 'Ballet Mécanique'

Hdl Handle:
http://hdl.handle.net/10540/216994
Title:
'...Out of and for machines...': time-space and time-form in George Antheil's 'Ballet Mécanique'
Authors:
Jackson, Paul
Affiliation:
Anglia Ruskin University
Reference:
Jackson, P, 2010. '...Out of and for machines...': time-space and time-form in George Antheil's 'Ballet Mécanique'. Ideas Sonicas, 2(2).
Publisher:
Centro Mexicano para la Música y las Artes Sonoras
Journal:
Ideas Sonicas / Sonic Ideas
Issue Date:
2010
URI:
http://hdl.handle.net/10540/216994
Additional Links:
http://www.sonicideas.org/index.php?vol=2&num=2
Abstract:
George Antheil, the eponymous ‘Bad Boy of Music’, wrote of his ultra-modernist Ballet mécanique (1923-4) that it represented a unique experiment in time-form, time-space and the fourth dimension of music. Antheil’s inexorable essay in noise was appropriately realised through instruments of his present – mechanically-operated pianos, percussion instruments, airplane propellers, electric bells and sirens – enabling a level of complexity of temporal organisation hitherto unknown. Antheil’s ideas also gained enthusiastic support from Ezra Pound who, in Antheil and the Treatise on Harmony (1924), argued that music should delineate itself principally by its passage through time, rather than by its ‘state’ at any moment in time. In the process, Pound reasserts the notion of the primacy of a predominantly temporally-informed mode of perception: music as a phenomenon existing in time-space, and articulating time-form. Ballet mécanique seeks to embody a realisation of these concepts, ‘wherein time functioning in music differs from ordinary time and the series of deductive and also physical phenomena that follow it.’ In Ballet mécanique, the compression and expansion of events within time moments, the metamorphosis of events within a past-present-future paradigm, the utilisation of simultaneous time-series, and the placing of events in time frames that lie beyond the scope of human memory recall, are all enabled through a quasicomputational mode of composition. Whilst the manipulation of sound material in such ways is often the very stuff of music compositional practice, the use of machines in Ballet mécanique allowed for the construction of a previously unimagined (and unimaginable) temporally-constructed soundscape.
Type:
Article
Language:
en
Keywords:
Antheil; Modernism; mecanique; music; ballet; time

Full metadata record

DC FieldValue Language
dc.contributor.authorJackson, Paulen_GB
dc.date.accessioned2012-03-29T10:21:30Z-
dc.date.available2012-03-29T10:21:30Z-
dc.date.issued2010-
dc.identifier.citationJackson, P, 2010. '...Out of and for machines...': time-space and time-form in George Antheil's 'Ballet Mécanique'. Ideas Sonicas, 2(2).en_GB
dc.identifier.urihttp://hdl.handle.net/10540/216994-
dc.description.abstractGeorge Antheil, the eponymous ‘Bad Boy of Music’, wrote of his ultra-modernist Ballet mécanique (1923-4) that it represented a unique experiment in time-form, time-space and the fourth dimension of music. Antheil’s inexorable essay in noise was appropriately realised through instruments of his present – mechanically-operated pianos, percussion instruments, airplane propellers, electric bells and sirens – enabling a level of complexity of temporal organisation hitherto unknown. Antheil’s ideas also gained enthusiastic support from Ezra Pound who, in Antheil and the Treatise on Harmony (1924), argued that music should delineate itself principally by its passage through time, rather than by its ‘state’ at any moment in time. In the process, Pound reasserts the notion of the primacy of a predominantly temporally-informed mode of perception: music as a phenomenon existing in time-space, and articulating time-form. Ballet mécanique seeks to embody a realisation of these concepts, ‘wherein time functioning in music differs from ordinary time and the series of deductive and also physical phenomena that follow it.’ In Ballet mécanique, the compression and expansion of events within time moments, the metamorphosis of events within a past-present-future paradigm, the utilisation of simultaneous time-series, and the placing of events in time frames that lie beyond the scope of human memory recall, are all enabled through a quasicomputational mode of composition. Whilst the manipulation of sound material in such ways is often the very stuff of music compositional practice, the use of machines in Ballet mécanique allowed for the construction of a previously unimagined (and unimaginable) temporally-constructed soundscape.en_GB
dc.language.isoenen
dc.publisherCentro Mexicano para la Música y las Artes Sonorasen_GB
dc.relation.urlhttp://www.sonicideas.org/index.php?vol=2&num=2en_GB
dc.subjectAntheilen_GB
dc.subjectModernismen_GB
dc.subjectmecaniqueen_GB
dc.subjectmusicen_GB
dc.subjectballeten_GB
dc.subjecttimeen_GB
dc.title'...Out of and for machines...': time-space and time-form in George Antheil's 'Ballet Mécanique'en
dc.typeArticleen
dc.contributor.departmentAnglia Ruskin Universityen_GB
dc.identifier.journalIdeas Sonicas / Sonic Ideasen_GB
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