The spatial performance of Luigi Nono

Abstract

Space is discussed here as a central element in Luigi Nono's composition and performance practice. Focusing chiefly on the pieces with tape and live-electronics composed after 1960, the dissertation attempts to illustrate the major influences that have contributed to the development of the Nono's spatial practice, with particular emphasis on his involvement with technology and theatrical practices ever since the detachment from Darmstadt in the late fifties. The musical and extra-musical implications of Nono's unique contribution to spatial music are discussed, in the hope that this work may become a useful practical contribution for future composers, performers and scholars, especially considering the lack of publications on the subject in English at the time of writing. The analysis is centred on the composer’s use of acoustic space as a conveyor of meaning, designed to stimulate active and critical audience engagement. Particular emphasis is thus placed on the use of amplification, tape and live-electronics in performance, introducing notions such as ‘doubling’, ‘con-fusion’, fragmentation, non-linearity, simultaneity, mobility and multiplicity, which inform Nono’s vision of space and are essential for a serious understanding of the composer’s engaged spatial aesthetic.

Date of Award	Jul 2013
Original language	English
Awarding Institution	Queen's University Belfast
Supervisor	Pedro Rebelo (Supervisor) & Eric Lyon (Supervisor)