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The understanding of instrumentation in music literature has been closely connected for a longer period with instruments and their sound qualities and fusion possibilities. Views like those held by Igor Stravinsky, who considered instrumentation to be an inseparable part of musical composition, widen the perspective. Significantly, such a perspective is a matter of course in local practices. Multipart music practices are of particular interest in this context, because they enable us to discern the most diverse ways of creating a common sound and to recognize this process as a "founder" of social interactions, which is more than an accomplishment in which it would be a pleasure to take one's "part". The instrumentation and instrumentalization of sound thus become particularly important for research.
A propos de l'auteur
Ursula Hemetek ist a.o. Universitätsprofessorin am Institut für Volksmusikforschung und Ethnomusikologie der Universität für Musik und darstellende Kunst Wien.
Résumé
The understanding of instrumentation in music literature has been closely connected for a longer period with instruments and their sound qualities and fusion possibilities. Views like those held by Igor Stravinsky, who considered instrumentation to be an inseparable part of musical composition, widen the perspective. Significantly, such a perspective is a matter of course in local practices. Multipart music practices are of particular interest in this context, because they enable us to discern the most diverse ways of creating a common sound and to recognize this process as a “founder” of social interactions, which is more than an accomplishment in which it would be a pleasure to take one’s “part”. The instrumentation and instrumentalization of sound thus become particularly important for research.
