The Spectral Piano From Liszt, Scriabin, and Debussy to the Digital Age [Paperback]

Marilyn Nonken finds precedent in the works of pianist-composers Liszt, Scriabin and Debussy for spectral attitudes towards the musical experience.The most influential compositional movement of the past fifty years, spectralism was informed by digital technology but also extended the aesthetics of pianist-composers such as Liszt, Scriabin, and Debussy. In The Spectral Piano, Marilyn Nonken explores these shared fascinations and the parallels between the movement's contemporary aesthetics and psychological research.The most influential compositional movement of the past fifty years, spectralism was informed by digital technology but also extended the aesthetics of pianist-composers such as Liszt, Scriabin, and Debussy. In The Spectral Piano, Marilyn Nonken explores these shared fascinations and the parallels between the movement's contemporary aesthetics and psychological research.The most influential compositional movement of the past fifty years, spectralism was informed by digital technology but also extended the aesthetics of pianist-composers such as Franz Liszt, Alexander Scriabin, and Claude Debussy. Students of Olivier Messiaen such as Tristan Murail and G?rard Grisey sought to create a cooperative committed to exploring the evolution of timbre in time as a basis for the musical experience. In The Spectral Piano, Marilyn Nonken shows how the spectral attitude was influenced by developments in technology but extended the aesthetic concerns of Liszt, Scriabin, and Debussy. Nonken explores shared fascinations with the musical experience, which united spectralists with their Romantic and early Modern predecessors. Examining Murail's Territioires de l'oubli, Jonathan Harvey's Tombeau de Messiaen, Joshua Fineberg's Veils, and Edmund Campion's A Complete Wealth of Time, she reveals how spectral concerns relate not only to the past but also to contemporary developments in philosophical aesthetics.1. An intimate history; 2. Itinerary; 3. Protospectralists at the pianol#&