Mechanical rhythm (and other traits) on music atthe beginning of the 20th century
DOI:
https://doi.org/10.35699/2237-5864.2022.37165Keywords:
Music, Modernism, style modernAbstract
This paper departs from an epigraph on a short piano piece from 1922 to point out characteristics of the Zeitgeist of the beginning of the 20th century. Although traditionally Music History presents this period as Modernism or Nationalism, the paper tries to identify and group traces on selected pieces from this period, which make possible to establish homological relationship with the characteristics of the fine arts and the architecture of the period. Even though the historical traditional in the music does not associate the aesthetics of this period to the style modern or style 25, the paper tries to question the aesthetical affiliation to the ensemble of works from the period.Downloads
References
ADORNO, Theodor. “Resumé über Kulturindustrie” [1963]. In: ADORNO, Theodor. Ohne Leitbild. Parva Aesthetica. Frankfurt: Suhrkamp, 1970.
BENJAMIN, Walter. Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit [1935]. In: BENJAMIN, Walter. Gesammelte Schriften.Frankfurt: Suhrkamp, 1980.
BOTSTEIN, Leon. “Modernism”. In: MACY, Laura (ed.).Grove Music Online. Disponível em: grovemusic.com. Acesso em: 20 abr. 2020.
CAECUS, Appius Claudius. [séc. II aEC] Sententiae. Cambridge: Packard Humanities, 1991.
DEBUSSY, Claude. Douze études. Paris: Durand, 1915.
EINSTEIN, Alfred. Music in the Romantic Era. New York: W. W. Norton, 1947.
FISCHER, Ernst-Peter. Wie kommt die Welt in den Kopf? Munique: Herbig, 2013.
FORD, Henry;CROWTHER, Samuel. My Life and Work. Garden City: Garden City Publishing, 1922.
FRISCH, Max. Homo Faber. Frankfurt: Suhrkamp, 1957.
GILLIES, Malcolm (ed.). The Bartók Companion. London: Faber, 1993.
HELL, Henri.Francis Poulenc. New York: Grove Press, 1959.
HINDEMITH, Paul. Ragtime. Suíte 1922. Mogúncia: Schott's Söhne, 1922.
HORKHEIMER, Max; ADORNO, Theodor W. [1947a] Kulturindustrie. Aufklärung als Massenbetrug.Frankfurt: Fischer, 1987a.
HORKHEIMER, Max; ADORNO, Theodor W. [1947b] Dialektik der Aufklärung. Philosophische Fragmente.Frankfurt: Fischer, 1987b.
JASPERS, K. Die geistige Situation der Zeit.Berlim: De Gruyter, 1931.
MARINETTI, F. T. Manifesto del Futurismo.Gazzetta dell ́Emilia, Bolonha, 5 fev. 1909.
MARTINS, Walter. A crítica literária no Brasil. Rio de Janeiro: Francisco Alves, 2002.
METZER, David. Musical Modernism at the Turn of the Twenty-first Century. Cambridge; New York: Cambridge University Press, 2009.
MORGAN, Robert. Secret Languages: The Roots of Musical Modernism.Critical Inquiry. Chicago, v. 10, n. 3, p. 442-461, Mar. 1984.
NICHOLS, Roger.The New Grove.London: MacMillan, 1980.
PROKOFIEV, Sergei. Toccata, op. 11. Moscou: P. Jurgenson, 1912.
RAVEL, Maurice. Concerto en sol. Paris: Durand, 1932.
SACRE, Guy.La musique pour piano: dictionnaire des compositeurs et des œuvres.v. II: J-Z. Paris: Robert Laffont,1998. (Bouquins).
TELES, Gilberto Mendonça. Vanguarda europeia e modernismo brasileiro. Petrópolis: Vozes, 1972.
TRANCHEFORT, François-René (ed.).Guide de la musique de piano et de clavecin. Paris:Fayard,1987. (Les Indispensables de la musique).
WAGNER, Richard. Das Kunstwerk der Zukunft. Leipzig: Otto Wigand, 1850.
WOLTERS, Klaus. Handbuch der Klavierliteratur zu zwei Händen.Zurique: Atlantis, 1985.
Downloads
Published
Issue
Section
License
Copyright (c) 2022 Wolney Unes
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
Authors who publish in this journal agree to the following terms:
- Authors retain copyright and grant the journal the right of first publication, with the work simultaneously licensed under the a Creative Commons Attribution-NonCommercial 4.0 International License that permits sharing of the work with acknowledgement of authorship and initial publication in this journal;
- Authors are permitted to enter into additional contracts separately, for non-exclusive distribution of the version of the work published in this journal (e.g., the Creative Commons Attribution License).
- Authors are permitted and encouraged to publish and distribute their work online (e.g., in institutional repositories or on their home page) at any point before or during the editorial process, as this may generate productive changes as well as increase the impact and citation of the published work.
- It is the responsibility of the authors to obtain written permission to use in their articles materials protected by copyright law. Revista PÓS is not responsible for copyright breaches made by its contributors.
| 
