| Abstract [eng] |
This research aims to present the principles of conceptual music composition, reinterpreted within the context of contemporary art. It analyzes what kinds of music (or sound) can be considered conceptual by identifying the main characteristics of a conceptual music piece, as well as what kinds cannot. For a concept-based work, it is not the emotional impression or abstract creative intention that is essential but rather the main idea, its presentation, and the clarity of that idea, which must be evident in the artwork’s final form. The concept serves as a map (or guideline) for the viewer to read and decode. The term concept is complex, partly because it was introduced over 60 years ago. Therefore, A. Matulevičiūtė introduces a new term, aftersound, which represents a new phenomenon. This term is born from the contrast between the terms concept and idea and seeks to explore the meaning behind music or sound work. Aftersound emerges from conceptual music or sound work, which often operates within an expanded field, where music or sound is viewed from the perspective of other artistic or scientific disciplines. In such cases, the music piece becomes a medium that conveys the work’s message. The term aftersound describes the encoding and composition of ideas (or meaning) within a musical or sound work, encompassing specific techniques and strategies. If a concept represents a plan or a system of thoughts, then aftersound serves as a tool for creating meaning, a form of expression, and the implementation of the concept. |
