Ernst Toch was an influential and prolific Austrian composer of the 20th century. Fleeing Hitler he eventually settled in Los Angeles. The Geographical Fugue is. ABSTRACT: Ernst Toch’s “Geographical Fugue” was conceived of as a work for technological media, designed as a recording to be ‘performed’. Trin – i – dad and the big. Mis – sis – sip – pi and the. GEOGRAPHICAL FUGUE. Ernst Toch ORFEON UNIVERSITARIO. DE MALAGA.
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University of California Press. The text English translation of all the parts consists of various permutations of the following lines:.
The addition of the post-production audio transformation renders it pedagogically edifying as well, a lesson on the possibilities of original music for gramophone. The performance, in front of an audience that included experimental composer John Cagewas a sensational success. The work was composed as the third and final movement in Toch’s suite Gesprochene Musik Spoken Music.
FUGUE: ERNST TOCH — THE GEOGRAPHICAL FUGUE Paul Sheftel
Canon of Titicaca Between Soprano and Bass, Measure 23 If we include all the words in the first full presentation of the fugue text measures 1—8 of the tenor partwe can see that Toch restricted himself to only a subset of the seventeen German vowels by using eight in total, with only seven geographicao more than once: Choric speech, the group recitation of poems, was taught in schools throughout Europe and America during the early twentieth-century. Since much prosthetic technology was designed to replace lost physical capabilities, it relied on separating senses and abilities into functional categories, a process that would culminate futue what Caroline A.
In the following analyses I examine the first full statement of the text, corresponding to measures in the tenor line. Charles Scribner and Sons. Listen to Schwitters recite the Ursonate [external link on ubuweb]. The suite was designed to be recorded by a chorus on gramophone records at 78 rpmthen “performed” in concert by replaying the records at a much higher speed.
The lightest jobs were again classified to discover how many of them required yeographical use of full faculties, and we found that could be filled by legless men, 2, by one-legged men, 2 by armless men, by one-armed men, and 10 by blind men.
I then continue by exploring the impact of postwar technology on constructions of the body in Weimar Republic visual and audio art, particularly in the new relationship between organic parts and mechanical prostheses.
Fuge aus der Geographie (Toch, Ernst)
Von Helmholtz, Hermann Ludwig Ferdinand. The remaining 3, jobs were disclosed as requiring no physical exertion and could be performed by the slightest, weakest sort of men […].
The piece was first performed, in its original German, at the Neue Musik Berlin festival in June What a putty, putty, putty. However, when the vowels move along both the front-back and the open-closed axes, which correspond to the first and second formants respectively, they tend to move from closed to open 9 to 1.
Toch also seems to be poking fun at the form of the school-fugue, a composition exercise that he surely encountered during his own musical training. For example, at the Baden-Baden festival premiere of Der Lindbergflugh, a year earlier, the audience sat in the concert hall, while the music was performed offstage and broadcast through loudspeakers into the hall.
Africa was a locus of Weimar Republic anxieties, as through her wartime defeat, Germany lost all her colonies, the most substantial of which had been located south of the Sahara, including parts of present-day Rwanda, Burundi, Kenya, Cameroon, Togo, Tanzania, Mozambique, and Namibia.
Existing as an almost absurd parody of a geography lesson, these chanted words become a collection of different syllables with almost universal phonetic characteristics rather than culturally specific meaning. InAugustus Stroh created the automatic phonograph, which geographival the five cardinal vowels using rotating discs. In his fugue, Toch gives pride of place to the Americas: The pairing of two Japanese cities is further suggestive, as Toch here appears to group geographic locations primarily by actual physical and cultural proximity.
Euthanasia apoplexy Euthanasia apoplexy. Yokohama Nagasaki Yokohama Nagasaki Syphilis!
The fugue consists of a single text, which forms the basis for all counterpoints geograpihcal developments: Indeed, the changes that affected the vowels upon increasing the playback speed stood at the forefront of his concerns, as he describes:.
His choice of his raw materials reflects artistic considerations such as economy of means, intelligibility of material and ease of performance, amplified under the conditions of the sped-up gramophone playback.
Cultural Origins of Sound Reproduction. However, the prominence he accords to the Mississippi river may possibly be a nod toward Jazz, especially gfographical that it was associated with Neue Sachlichkeit aesthetics and with goch technology. Click here to listen to the original recording of Zwei Trickaufnahmen . The first counter subject features the Greek capital Athens, while the second counter subject includes the Japanese cities of Nagasaki and Yokohama.
Concurrently, Fleeming Jenkin and James A. Jenkin and Ewing The phonograph soon became an essential tool in the investigation of phonetics. Perhaps the readiness of this piece for experimental reinterpretation stems from its origins tich the conceptual and technological avant-garde of its day.
ZGMTH – From Trinidad to Cyberspace: Reconsidering Ernst Toch’s “Geographical Fugue”
A History of Sound in the Arts. Inhe fled Germany, ending up in Hollywood, where he composed music for films in addition to a substantial body of chamber, solo, and orchestral music.
Visions of the New Human in Weimar Berlin. Toch even writes in a pedal point on a rolled r the Ra in Ratiborwhich enables the sopranos to sustain the syllable for two full measures.
Flight out of Time: Example 7 depicts the statistical distribution of vowel sounds within the first full iteration of the text.
As Toch wrote in erns original program notes: Contrapuntal passages are carefully balanced, with unison pairings or hocketing to retain the clarity of the subject at all times.