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GLASBA ZA OČI

ANG: eye music, eye-music; NEM: Augenmusic; FR: musique oculaire (gl. KR); IT: musica visiva (gl. KR).

D: »Pojem, ki se pogosto uporablja za sodobne partiture, ki vsebujejo vizualne obrazce, grafične simbole in nenavadne metode notacije, zasnovane tako, da privabijo pogled … Circles (1960) Luciana Beria in New York Skyline (1940) Hectorja Villa-Lobosa bi bili partituri tega tipa.« (‹FR›, 28–29).

KM: V ‹BKR›, I, 69, ‹EH›, 32, ‹GR6›, VI, 338–339, ‹M›, 255, ‹RAN›, 296 in v ‹HU›, 63–64 je prav tako omenjena razlaga tega pojma v glasbi od 15. do 18. stoletja, ki tukaj seveda ni relevanten.

KR: D natanko opredeljuje pojem, vendar so navedeni primeri diskutabilni. Tukaj se govori o glasbi, katere zapis ima vizualno privlačnost, čeprav je njena primarna funkcija realizacija v zvoku. V tem smislu sta primera glasbe za oči v ožjem smislu Duchampova La Mariée mis à nu par ses Célibataires (gl. TOMKINS 1975: 9–68) in Treatise (1963–1967) C. Cardewa, ki sta hkrati primera za glasbeno grafiko (gl. KR glasbene grafike), ne pa tudi grafične notacije (gl. KR grafične notacije). Tako se tudi v ‹SLON›, 1431, kot primer glasbe za oči omenjajo partiture A. Logothetisa, ki so sicer grafično »svobodne« v smislu glasbene grafike, pa vendar še kako zahtevajo realizacijo v zvoku, zaradi česar jih je njihov avtor opremil z ustreznimi napotki, po katerih se grafični znaki prenašajo v zvok (gl. LOGOTHETIS 1974; KARKOSCHKA 1966: 79–82; ‹G›, 188–189).

FR in IT pojma se nahajata v ‹L›, 42. V FR pojma ne najdemo v priporočljivi literaturi, v IT pa je pojem sopomenka vidne glasbe.

GL: fluxus, glasba na papirju, glasba za branje, glasbena grafika, improvizacija, neslišna glasba, vidna glasba.

‹JON›, 98

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