The Problem of Form in Contemporary Music

Detalhes bibliográficos
Autor(a) principal: Socha, Eduardo
Data de Publicação: 2017
Tipo de documento: Artigo
Idioma: por
Título da fonte: Artefilosofia
Texto Completo: https://periodicos.ufop.br/raf/article/view/739
Resumo: Our intention in this paper is to bring out the context of the crisis of musical form, stressed by the worn-out of tonal material during the late 19th century. After this, we shall present Ligeti’s analysis of the formal principles that prompted most of contemporary music development, specially in serial and chance music, which directly affects the construction of a temporality that relegates the rules established by tonal tradition. We may clearly remark among these principles: 1) the absence of pre-established formal schemes; 2) a rhythmical articulation detached from any regular pulse; 3) the absence of an overall accepted musical syntax; 4) a relativeness of the musical elements function, that marked so far the different moments inside musical form and the forthcoming of a particularized musical syntax. We shall also briefl y expose the relationships between different strategies for solving the impasses of contemporary musical form (like those brought by Boulez and Adorno), which constitute one of the most important issues today on philosophy of music.
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spelling The Problem of Form in Contemporary MusicO problema da forma na música contemporâneaMusical FormPhilosophy of MusicLigetiBoulezAdorno.Forma MusicalFilosofia da MúsicaLigetiBoulezAdorno.Our intention in this paper is to bring out the context of the crisis of musical form, stressed by the worn-out of tonal material during the late 19th century. After this, we shall present Ligeti’s analysis of the formal principles that prompted most of contemporary music development, specially in serial and chance music, which directly affects the construction of a temporality that relegates the rules established by tonal tradition. We may clearly remark among these principles: 1) the absence of pre-established formal schemes; 2) a rhythmical articulation detached from any regular pulse; 3) the absence of an overall accepted musical syntax; 4) a relativeness of the musical elements function, that marked so far the different moments inside musical form and the forthcoming of a particularized musical syntax. We shall also briefl y expose the relationships between different strategies for solving the impasses of contemporary musical form (like those brought by Boulez and Adorno), which constitute one of the most important issues today on philosophy of music.Nossa intenção neste artigo é, em primeiro lugar, contextualizar o problema da forma musical após o desgaste da tonalidade no fi nal do século XIX. Em seguida, apresentamos o diagnóstico realizado por Ligeti sobre os princípios formais que orientaram boa parte do desenvolvimento da música contemporânea, sobretudo no interior da música serial e aleatória, marcada pela reconfi guração estrutural de uma temporalidade que não mais obedece a critérios pertinentes à tradição tonal. Entre estes princípios, observamos: 1) ausência de esquemas formais pré-estabelecidos; 2) articulação rítmica desligada de qualquer pulsação regular; 3) ausência de sintaxe geralmente válida; 4) relativização da função dos elementos musicais, função que até então marcava as fases dentro da forma tradicional, e acompanhamento de uma sintaxe individualizada. Procuramos identifi car as relações entre as diversas estratégias para a solução dos impasses da forma musical contemporânea (como aquelas expostas nos trabalhos de Boulez e Adorno), que dizem respeito atualmente a uma das principais temáticas da fi losofi a da música.Universidade Federal de Ouro Preto2017-04-25info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://periodicos.ufop.br/raf/article/view/739Artefilosofia; v. 3 n. 4 (2008); 95-104Artefilosofia; Vol. 3 No. 4 (2008); 95-1042526-78921809-8274reponame:Artefilosofiainstname:Universidade Federal de Ouro Preto (UFOP)instacron:UFOPporhttps://periodicos.ufop.br/raf/article/view/739/695Copyright (c) 2017 Revista ArteFilosofiahttps://creativecommons.org/licenses/by-nc-sa/4.0info:eu-repo/semantics/openAccessSocha, Eduardo2022-03-25T11:13:58Zoai:pp.www.periodicos.ufop.br:article/739Revistahttps://periodicos.ufop.br/raf/PUBhttps://periodicos.ufop.br/raf/oaiartefilosofia.defil@ufop.edu.br || periodicos.sisbin@ufop.edu.br1809-82742526-7892opendoar:2022-03-25T11:13:58Artefilosofia - Universidade Federal de Ouro Preto (UFOP)false
dc.title.none.fl_str_mv The Problem of Form in Contemporary Music
O problema da forma na música contemporânea
title The Problem of Form in Contemporary Music
spellingShingle The Problem of Form in Contemporary Music
Socha, Eduardo
Musical Form
Philosophy of Music
Ligeti
Boulez
Adorno.
Forma Musical
Filosofia da Música
Ligeti
Boulez
Adorno.
title_short The Problem of Form in Contemporary Music
title_full The Problem of Form in Contemporary Music
title_fullStr The Problem of Form in Contemporary Music
title_full_unstemmed The Problem of Form in Contemporary Music
title_sort The Problem of Form in Contemporary Music
author Socha, Eduardo
author_facet Socha, Eduardo
author_role author
dc.contributor.author.fl_str_mv Socha, Eduardo
dc.subject.por.fl_str_mv Musical Form
Philosophy of Music
Ligeti
Boulez
Adorno.
Forma Musical
Filosofia da Música
Ligeti
Boulez
Adorno.
topic Musical Form
Philosophy of Music
Ligeti
Boulez
Adorno.
Forma Musical
Filosofia da Música
Ligeti
Boulez
Adorno.
description Our intention in this paper is to bring out the context of the crisis of musical form, stressed by the worn-out of tonal material during the late 19th century. After this, we shall present Ligeti’s analysis of the formal principles that prompted most of contemporary music development, specially in serial and chance music, which directly affects the construction of a temporality that relegates the rules established by tonal tradition. We may clearly remark among these principles: 1) the absence of pre-established formal schemes; 2) a rhythmical articulation detached from any regular pulse; 3) the absence of an overall accepted musical syntax; 4) a relativeness of the musical elements function, that marked so far the different moments inside musical form and the forthcoming of a particularized musical syntax. We shall also briefl y expose the relationships between different strategies for solving the impasses of contemporary musical form (like those brought by Boulez and Adorno), which constitute one of the most important issues today on philosophy of music.
publishDate 2017
dc.date.none.fl_str_mv 2017-04-25
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv https://periodicos.ufop.br/raf/article/view/739
url https://periodicos.ufop.br/raf/article/view/739
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://periodicos.ufop.br/raf/article/view/739/695
dc.rights.driver.fl_str_mv Copyright (c) 2017 Revista ArteFilosofia
https://creativecommons.org/licenses/by-nc-sa/4.0
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2017 Revista ArteFilosofia
https://creativecommons.org/licenses/by-nc-sa/4.0
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv Universidade Federal de Ouro Preto
publisher.none.fl_str_mv Universidade Federal de Ouro Preto
dc.source.none.fl_str_mv Artefilosofia; v. 3 n. 4 (2008); 95-104
Artefilosofia; Vol. 3 No. 4 (2008); 95-104
2526-7892
1809-8274
reponame:Artefilosofia
instname:Universidade Federal de Ouro Preto (UFOP)
instacron:UFOP
instname_str Universidade Federal de Ouro Preto (UFOP)
instacron_str UFOP
institution UFOP
reponame_str Artefilosofia
collection Artefilosofia
repository.name.fl_str_mv Artefilosofia - Universidade Federal de Ouro Preto (UFOP)
repository.mail.fl_str_mv artefilosofia.defil@ufop.edu.br || periodicos.sisbin@ufop.edu.br
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