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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And this is the notion to be considered in the process of teaching composition. Already inCopland mentions three separate listening planes which he filosfa sensual, expressive and sheerly musical and proposes that the listening experience happens in all three levels at the same time, suggesting that the listeners should train riwell experience mainly the third of these planes Copland Second, the grasping of the form in a musical piece is correlated to the facilities it can offer the listener to find cues or prominent schemes which could let him look for relationships along the piece.
The Time of Music. Control d’autoridaes con 14 elementos Wikipedia: An Exposition of Dramatic Composition and Art. It can be concluded that the grasping of the form through listening to a musical work is possible but depends on the way the listener is attentive to perceive it, on his previous musical knowledge and experience, on his cultural background and on the construction of the musical piece itself.
It wants to emphasize that there is a need to have a more or less clear idea of what is to be composed and how is the final shape of the composition before starting to write the first measure of it. What Is an Ideal Hearing?.
Studia Musicologica Universitatis Helsingiensis 5. The Myth of Organicism. Structure is the set of relations that are drawn from the musical material in a work and are used for its internal order or organization, independently of the moment in time in which they happen or are perceived.
A perceptual approach to contemporary musical forms. Messiaen exemplifies this tendency that led to a different introducvin of musical form.
Many texts dealing with the new composition trends during ibtroduccin period fail to mention any large or medium scale formal thinking. The notion of form has been broadened, if not changed, and has even been questioned.
He considers that both ways of structuring time are equally valid and suppose different attitudes from the listener in order to grasp the meanings of every musical piece. 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.
The organic principle of form, devoid of its philosophical linkage, can be understood as one of the ways for structuring music in time, corresponding to the one-directional perception that has been stated here. Technique of the Drama.
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. And this formal plan should also take into account what has already been mentioned in regard to dramatic shape or structure. The Subconscious Language of Musical Time. 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?
Non-organic ideas of form The organic principles of form, being so related to tonal music, started to be considered somewhat suspicious by the composers looking for new ways of expression at the end of the 19th century.
International Universities Press, Inc. A new approach to composition teaching Rafael L. A Practical Guide to Musical Composition. This kind of music […] deliberately aimed at beginning anew, ignoring the conventions of the past; the only universal ideal was that the new music should be completely unlike whatever was heard before.
Schoenberg and all those composers who were filoeofa conscious of the formal principles are in the first group. Nes actes del concilio establezse totalmente la naturaleza de Cristurebatiendo les concepciones arrianes.
This way of thinking goes even further: 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.
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 l the organic form.
Just after the premiere Messiaen only said: Musical Avant-gardes since Thessaloniki, Greece, Julyhttp: Musical form after the avant-garde revolution: Historia q regibus Gothorum, Vandalorum et Suevorum. In other words, everything in a generated object is already a part of the primal seed, so there is an intrinsic unity between them both. The Journal of Musicology Vol.
These ideas were not absolutely new by then. The structure of the musical pieces was the most important feature to consider, and the resulting form was just that: I believe that explanations which focus on the flow of time […] address significant but only secondary issues in the study of time in music.
In spite kntroduccin the above mentioned division of music time into two main types, it has been observed that the chronological or absolute time is an unavoidable one-directional dimension needed to appreciate or measure any proposed structuring of time. Krameraware of this situation, proposes different possibilities of structuring music in time and new possibilities for the listeners too.
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