Abstract
The article is devoted to the work of Art Zoyd, a French group whose experimental style is often defined by modern researchers as “la musique nouvelle” (from the French — “new music”) and is viewed through the prism of the genre-style dialogue between rock and contemporary academic music. The idea of “metamusic”, expressed in the co-creation of several composers, as well as in the unity of visual, plastic, and musical components, is also important for understanding the style of the group. This trend is especially closely related to the personality of one of the founders of the group, Gerard Hourbette, who combines the gift of a composer with the talent of a programmer. The obvious reliance on the achievements of electroacoustic music, the desire to combine the scientific understanding of the phenomenon of sound with the implementation of practical musical projects (expressed in the creation of the research and creative center Art Zoyd Studios), make him related to the figure of the pioneer of musique concrète and the founding father of Groupe de Recherches Musicales, Pierre Schaeffer. The idea of the synthesis of the arts is reflected in the innovative multimedia performances of the group, as well as in the soundtracks to silent films. The article analyzes the sound scores for the films Nosferatu by Friedrich Murnau, Häxan by Benjamin Christensen, The Fall of the House of Usher by Jean Epstein.
Highlights
Статья посвящена творчеству Art Zoyd, французской группы, экспериментальный стиль которой часто определяется современными исследователями как «la musique nouvelle» (с фр. — «новая музыка») и рассматривается сквозь призму жанрово-стилевого диалога рока и современной академической музыки
The article is devoted to the work of Art Zoyd, a French group whose experimental style is often defined by modern researchers as “la musique nouvelle” and is viewed through the prism of the genre-style dialogue between rock and contemporary academic music
The idea of “metamusic”, expressed in the co-creation of several composers, as well as in the unity of visual, plastic, and musical components, is important for understanding the style of the group. This trend is especially closely related to the personality of one of the founders of the group, Gerard Hourbette, who combines the gift of a composer with the talent of a programmer
Summary
Статья посвящена творчеству Art Zoyd, французской группы, экспериментальный стиль которой часто определяется современными исследователями как «la musique nouvelle» (с фр. — «новая музыка») и рассматривается сквозь призму жанрово-стилевого диалога рока и современной академической музыки. Статья посвящена творчеству Art Zoyd, французской группы, экспериментальный стиль которой часто определяется современными исследователями как «la musique nouvelle»
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have