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"Sound and Composer"
The purpose of this first interdisciplinary event in the history of Sound-Sphere research was to investigate the question of exactly how far composers are influenced in the creation of their works by the sphere of sounds around them.
The symposium was able
„h to provide the first overall picture of the research into the sound-spheres of available present-day instruments.
„h to specify the special sound of the Vienna Philharmonic (the above topic was partly covered by lectures presented within the framework of the Symposium);
„h to calculate the measurability of the varying sound-patterns of other orchestras.
Further there was general agreement among the participating musicians, musicologists, medical doctors, sound-sphere researchers, and journalists as to the influence of sounds on composition, even if much additional research is necessary for clarification of the subject.
The results of the Symposium should give impulse to further research on the connections between sounds and emotional effect, especially in the investigation of the mechanism of perceptions in the field of acoustics and psycho-acoustics, along with neuro-psychological research into those sound-conditions necessary for musical creativity and creative design.
The comprehensive report of the Symposium with contributions from Otto Biba, Nikolaus Harnoncourt, Nicholas Kenyon, Marc Vignal, Joseph McLellan, Peter Stadlen, Neal Zaslaw, Constantin Floros, Ugo Duse, Werner A. Deutsch, Franz Fodermayr, Hellmuth Petsche, Giselher Guttman, Riccardo Muti, Sir Georg Solti, and many other authors will be published by Schneider/Tutzing in March 1992.
The symposium was able
„h to provide the first overall picture of the research into the sound-spheres of available present-day instruments.
„h to specify the special sound of the Vienna Philharmonic (the above topic was partly covered by lectures presented within the framework of the Symposium);
„h to calculate the measurability of the varying sound-patterns of other orchestras.
Further there was general agreement among the participating musicians, musicologists, medical doctors, sound-sphere researchers, and journalists as to the influence of sounds on composition, even if much additional research is necessary for clarification of the subject.
The results of the Symposium should give impulse to further research on the connections between sounds and emotional effect, especially in the investigation of the mechanism of perceptions in the field of acoustics and psycho-acoustics, along with neuro-psychological research into those sound-conditions necessary for musical creativity and creative design.
The comprehensive report of the Symposium with contributions from Otto Biba, Nikolaus Harnoncourt, Nicholas Kenyon, Marc Vignal, Joseph McLellan, Peter Stadlen, Neal Zaslaw, Constantin Floros, Ugo Duse, Werner A. Deutsch, Franz Fodermayr, Hellmuth Petsche, Giselher Guttman, Riccardo Muti, Sir Georg Solti, and many other authors will be published by Schneider/Tutzing in March 1992.
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