Introducción a la filosofía de la música: antecedentes históricos y problemas estéticos. Front Cover. Lewis Rowell. Gedisa, – pages. Descripción: Introducción a La Filosofía de La Música-Lewis Rowell. Introduccion a la Filosofia de la Musica: Antecedentes historicos y problemas esteticos by Lewis Rowell at – ISBN – ISBN .
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These ideas of Goethe led to the notion that from just one primal model there could be generated many different ones, introducing the idea of generativity: The Myth of Organicism. Some texts on the analysis of 20th century music show this way of thinking by focusing on the structural construction of musical pieces —even calling it form— and not on their display in time. The new conceptions about time from Oriental cultures, which started to become fashionable towards the end of that century, were not supportive of the teleological trends of the organic form.
University of California Press.
In this situation, what is usually most important is the sensual experience of sound, so the structuring in time becomes irrelevant, as the composer does not expect the listener to recall events in order to grab a rwoell, he just expects the listeners to enjoy the sound that is experienced moment by moment, without any reference to past nor future musical events. Schoenberg and all those composers who were more conscious of the formal principles are in the first group.
The organic model is taken for granted by Riemann and Schoenberg. Studia Musicologica Universitatis Helsingiensis 5.
Composer Gerald Levinson refers to an anecdote as a student of Olivier Messiaen. Even after the important changes in musical language which took place at the beginning of 20th century some composers, like for instance, Arnold Schoenberg, kept attached to the idea of organicism in the form in spite of the use of a musical language that was becoming further and further away from the tonality. Boulez is conscious of the necessity to organize music in time to make it understandable, but he rejects any traditional principles and trusts on the composers own intuition or the structural principles of every work to make it intelligible.
In spite of the changes brought by the modernism and avant-garde revolutions, the organic principle has been still valid in many composers and authors during the 20th and 21st centuries.
The importance of Beethoven and the positive value judgments of his work made of both the generative process and the organicism undisputed models for the following generations of composers.
Introducción a La Filosofía de La Música-Lewis Rowell – Free Download PDF
Fundamentals of Musical Composition. In the next paragraphs the organic conception of form is discussed first and then other formal conceptions that reacted to it with the avant-garde new impulses. There is no need to go deeper on this variety of thoughts, amply discussed somewhere else. One just needs to lz that the lla piece is addressed to a group of listeners with different attitudes, so the more clear the musical statements the more possibilities they will have to enjoy the music and understand the meaning of the composition.
The preceding statement does not mean that a composition cannot be started from scratch, doodling over the piano or playing —in all its meanings— with sounds, as part nitroduccin a process of looking for musical ideas or materials. Mechanisms of cue oa in musical groupings: Espacio sonoro y tiempo musical en la obra de Pierre Boulez. Una de les cuestiones que s’enceten nesti llibru ye definir el conceutu de Historia y estremar los tipos d’historia que pueda haber.
The introduction of non-Western conceptions of time, the emergence of electronic music and a wish to break with the previous musical standards led to the creation of new genres and new ways to render compositional ideas.
Introducción a La Filosofía de La Música-Lewis Rowell
Music and the Psychology of Expectation. Musical Avant-gardes since Thessaloniki, Greece, Julyhttp: Namely, by what means does music first establish the experience of time in the domain of hearing, so that it may then modulate and modify its flow? Enter the email address you signed up with and we’ll email you a reset link.
Before trying to find an answer to the question it is xe to clear out something concerning the term itself. Boulez discusses the notion of form in several texts, but tends to interchange form and structure as synonyms. The piece had a terrible result that he regretted, basically for the problems with its form.
And this formal plan should also take into account what has already been mentioned in regard to dramatic shape or structure. Foi’l primeru de los grandes compiladores medievales. Among the consequences brought by the new ways of understanding and composing music that started to show up at the end of the 19th century and beginning of the next are those lfwis led to a different notion of musical form.
International Universities Press, Inc. Thus any formal result, as far as it is structured by the composer, is equally valid. The idea that, no matter how a musical piece is formally structured, it depends on the one- directional passing of time, the mentioned absolute time, leads to the conclusion that musical form, when experienced, is deeply linked to the listening experience along the time axis, which supposes the recording in memory of some of the experienced sound events and the search for relationships among them that are later recalled in a mind-processed shape, fulfilling expectations or providing surprise.
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Suffice it to say that nowadays one thing is agreed by scholars: Acta Musicologica Fennica New Directions in Music. The organic conception of musical form —one that compared a musical piece with a living creature— dominated the composition and analysis of music as the only possibility.
A new approach to the teaching of musical form As elwis has been stated before, the listening process is a very individual one, so the variability of what a specific listener could expect from a piece of music is huge. Universidad de Chile, Facultad de Artes.
An Exposition of Dramatic Composition and Art. Until the second half of the 18th century, musical form had been understood mainly as the ordering or setting of parts in a musical pewis, following the dancing traditions where most musical works msuca founded. Even though Kramer is conscious of that the musical time is experienced over or parallel to an absolute time, it seems that he takes for granted the fact that whichever way a listener experiences music, whichever the style, structure, form of the musical piece, this listening activity is carried out in time, in absolute time.
A Practical Guide to Musical Composition.