Modernismus (musica)

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Ricardus Strauss anno 1888, anno Dominis Ioannis, compositionis quae élan vital et breakaway mood modernismi repraesentat (Dahlhaus 1989:331, 334).

Modernismus in musica est motus mutationis et evolutionis in lingua musica circa 1901 ortus, tempus variorum affectuum in interpretatione priorum musicae categoriarum, novitates quae in novos modos harmonicarum, melodicarum, sonicarum, et rhythmicarum musicae proprietatum ordinandarum et attingendarum, et in mutationes in cosmotheoriis aestheticis quae ad maiorem aetatem arte pertinent, modernismi in artibus illius temporis inducunt. Vocabulum quocum artissime consociatum est innovation.[1] Eius proprietas maximi momenti est "multitudo linguistica," quae significat nullum genus musicae statum praevalentem umquam assumpsisse.[2]

In modernismo musico inhaeret persuasio musicam non rem immotam, a veritatibus aeternis et principiis classicis definitam, sed potius rem quae historicam et progressivam per se esse. Cum fides progressui musico vel principio innovationis nec nova nec modernismo unica est, tales aestimationes magni momenti praecipue sunt intra habitus aestheticos modernisticos.[3][4]

Exempla sunt Arnoldi Schoenberg approbatio reiectionis tonalitatis in operibus chromaticis posttonalibus et duodecim tonorum, atque Inguari Stravinsky motus a rhythmo metrico.[5]

Notiones musicologicae recentiores[recensere | fontem recensere]

Carolus Dahlhaus, musicologus Germanus, modernismum "apertam discontinuitatis historicae rem" describit:

Inventum compositorum Mahler, Strauss, et Debussy altam commutationem historicam significat. . . . Si nomen petimus ut rebellem animi habitum decennii post 1890 describamus (animi habitum a primis Domini Ioannis Straussiani mensuris in musica repraesentatum) cum fictum stili unitatem aetati non imponamus, res exasperare possumus peius quam ad modernismum revertere, vocabulum Hermanni Bahr, et de "musica modernistica" modo aperta sine fine dicere, ab anno 1890 (cum certa latitudine) ad initia musicae modernae nostri saeculi vicensimi anno 1910 durante.[6][7]

Musica per tempora descripta[recensere | fontem recensere]

Alii scriptores putant modernismum musicum aetatem historicam quae a circa 1890 ad 1930 extenditur, et vocabulum postmodernismum aetati post illum annum adhibent.[8] Iam alii asseverant modernismum nulli aetati historicae annecti, sed potius est "habitus compositoris; constructus vivus, qui cum temporibus progredi potest."[9][10]

Nexus interni

Notae[recensere | fontem recensere]

  1. Metzer 2009:3.
  2. Morgan 1984:443.
  3. Anglice: "Inherent within musical modernism is the conviction that music is not a static phenomenon defined by timeless truths and classical principles, but rather something which is intrinsically historical and developmental. While belief in musical progress or in the principle of innovation is not new or unique to modernism, such values are particularly important within modernist aesthetic stances."
  4. Campbell 2010:37.
  5. Campbell 2010:37.
  6. Anglice: "an obvious point of historical discontinuity. . . .The 'breakthrough' of Mahler, Strauss, and Debussy implies a profound historical transformation. . . . If we were to search for a name to convey the breakaway mood of the 1890s (a mood symbolized musically by the opening bars of Strauss's Don Juan) but without imposing a fictitious unity of style on the age, we could do worse than revert to Hermann Bahr's term 'modernism' and speak of a stylistically open-ended 'modernist music' extending (with some latitude) from 1890 to the beginnings of our own twentieth-century modern music in 1910."
  7. Dahlhaus 1989:334.
  8. Karolyi 1994:135; Meyer 1994:331–332.
  9. Anglice: "an attitude of the composer; a living construct that can evolve with the times."
  10. McHard 2008:14.

Bibliographia[recensere | fontem recensere]

  • Albright, Daniel. 2000. Untwisting the Serpent: Modernism in Music, Literature, and Other Arts. Chicago: University of Chicago Press. ISBN 0-226-01253-0, ISBN 0-226-01254-9.
  • Albright, Daniel. 2004. Modernism and Music: An Anthology of Sources. Chicago: University of Chicago Press. ISBN 0-226-01267-0.
  • Anon. N.d. "Poème electronique," web.archive.org.
  • Ashby, Arved. 2004. Modernism Goes to the Movies. In The Pleasure of Modernist Music: Listening, Meaning, Intention, Ideology, ed. Arved Ashby, 345-386. Eastman Studies in Music. Rochester Novi Eboraci: University of Rochester Press. ISBN 1-58046-143-3.
  • Botstein, Leon. Modernism. Grove Music Online, ed. L. Macy.
  • Campbell, Edward. 2010. Boulez, Music and Philosophy. ISBN 978-0-521-86242-4.
  • Cavell, Stanley. 1976. Music Discomposed. In Must We Mean What We Say? Cantabrigiae et Novi Eboraci: Cambridge University Press. ISBN 0-521-29048-1, ISBN 0-521-21116-6.
  • Cavell, Stanley. 2002. Music Discomposed. In Must We Mean What We Say? Ed. 2a. Cantabrigiae et Novi Eboraci: Cambridge University Press. ISBN 0-521-82188-6, ISBN 0-521-52919-0.
  • Dahlhaus, Carl. 1989. Nineteenth-Century Music. Conv. J. Bradford Robinson. Berkeleiae: University of California Press.
  • Drury, Stephen. N.d. "In a Landscape". http://www.stephendrury.com.
  • Ferneyhough, Brian. 1995. Collected Writings. Ed. James Boros et Richard Toop. Novi Eboraci: Routledge. ISBN 3-7186-5577-2.
  • Karolyi, Otto. 1994. Modern British Music: The Second British Musical Renaissance—From Elgar to P. Maxwell Davies. Rutherford, Madison, Teaneck: Farleigh Dickinson University Press; Londinii et Toronti: Associated University Presses. ISBN 0-8386-3532-6.
  • McHard, James L. 2008. The Future of Modern Music: A Philosophical Exploration of Modernist Music in the 20th Century and Beyond. Ed. 3a. Livoniae Michiganiae: Iconic Press ISBN 978-0-9778195-1-5.
  • Metzer, David Joel. 2009. Musical Modernism at the Turn of the Twenty-first Century. Music in the Twentieth Century, 26. Cantabrigiae et Novi Eboraci: Cambridge University Press. ISBN 978-0-521-51779-9.
  • Meyer, Leonard B. 1994. Music, the Arts, and Ideas: Patterns and Predictions in Twentieth-Century Culture. Ed. 2a. Sicagi et Londinii: University of Chicago Press. ISBN 0-226-52143-5.
  • Morgan, Robert P. 1984. Secret Languages: The Roots of Musical Modernism. Critical Inquiry 10(3):442–461.
  • Russolo, Luigi. 1913. L'arte dei rumori: manifesto futurista. Mediolani: Direzione del Movimento Futurista.

Bibliographia addita[recensere | fontem recensere]

  • Albright, Daniel. 2011. "Musical Motives." In The Cambridge Companion to Modernism, ed. 2a, ed. Michael H. Levenson, 232–44. Cantabrigiae et Novi Eboraci: Cambridge University Press. ISBN 1-107-01063-2, ISBN 0-521-28125-3.
  • Bernstein, David W., John Rockwell, et Johannes Goebel. 2008. The San Francisco Tape Music Center: 1960s Counterculture and the Avant-garde. Berkeleiae: University of California Press. ISBN 978-0-520-24892-2, ISBN 978-0-520-25617-0.
  • Botstein, Leon. 1985. Music and Its Public: Habits of Listening and the Crisis of Musical Modernism in Vienna, 1870–1914". Ph.D. diss., Harvard University.
  • Bucknell, Brad. 2001. Literary Modernism and Musical Aesthetics: Pater, Pound, Joyce, and Stein. Cantabrigiae et Novi Eboraci: Cambridge University Press. ISBN 0-521-66028-9.
  • Despic, Dejan, et Melita Milin, eds. 2008. Rethinking Musical Modernism: Proceedings of the International Conference Held from October 11 to 13, 2007 / Muzicki modernizam—nova tumacenja: zbornik radova sa naucnog skupa odzanog od 11. do 13. oktobra 2007. Belgrade: Institute of Musicology. ISBN 978-86-7025-463-3.
  • Duncan, William Edmondstoune. 1917. Ultra-Modernism in Music: A Treatise on the Latter-day Revolution in Musical Art. Schirmer's Red Series of Music Text Books. Londinii: Winthrop Rogers.
  • Earle, Benjamin. 2011. Luigi Dallapiccola and Musical Modernism in Fascist Italy. Cantabrigiae: Cambridge University Press. ISBN 978-0-521-84403-1.
  • Frisch, Walter. 2005. German Modernism: Music and the Arts. California Studies in 20th-century Music. Berkeleiae, Angelopoli, et Londinii: University of California Press. ISBN 0-520-24301-3.
  • Griffiths, Paul. 1981. Modern Music: The Avant Garde since 1945. Novi Eboraci: George Braziller. ISBN 0-8076-1018-6.
  • Loya, Shay. 2011. Liszt's Transcultural Modernism and the Hungarian-Gypsy Tradition. Eastman Studies in Music. Rochester Novi Eboraci: University of Rochester Press. ISBN 978-1-58046-323-2.
  • Sitsky, Larry. 2002. Music of the Twentieth-Century Avant-garde: A Biocritical Sourcebook. Westport Connecticutae: Greenwood Press. ISBN 0-313-29689-8.
  • Smith Brindle, Reginald. 1987. The New Music: The Avant-garde Since 1945. Ed. 2a. Oxoniae et Novi Eboraci: Oxford University Press. ISBN 0-19-315471-4, ISBN 0-19-315468-4.
  • Straus, Joseph Nathan. 1990. Remaking the Past: Musical Modernism and the Influence of the Tonal Tradition. Cantabrigiae Massachusettae: Harvard University Press. ISBN 0-674-75990-7.
  • Taruskin, Richard. 1987. The First Modernist. The New Republic 197(26), 28 December: 36–40.
  • Watkins, Glenn. 1994. Pyramids at the Louvre: Music, Culture, and Collage from Stravinsky to the Postmodernists. Cantabrigiae Massachusettae: Harvard University Press. ISBN 0-674-74083-1.
  • Williams, Alastair. 1999. Adorno and the Semantics of Modernism. Perspectives of New Music 37(2):29–50.
  • Youmans, Charles Dowell. 2005. Richard Strauss's Orchestral Music and the German Intellectual Tradition: The Philosophical Roots of Musical Modernism. Bloomington: Indiana University Press. ISBN 0-253-34573-1.

Nexus externi[recensere | fontem recensere]