Abstrakt In my study I pursue an important feature of the late compositions by Morton Feldman which directly influences the possible analytical approach. The analysed compositions are notated in a relatively standard manner; however, the symbols we face in the score might not always be what they seem to be. The boundaries separating the notation and the acoustic reality are challenged. It is not possible to unambiguously determine the angle through which to view these works, we find ourselves between different phenomena, between categories. In my analysis, I take into considerations Feldman´s early works – this method helps understanding his later compositional procedures, and also shows the overall integrity of Feldman´s compositional thinking. I try to set my reflections within a broader theoretical framework – especially some ideas of Gilles Deleuze.
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Článek vyšel v časopise Živá hudba 2016/7
