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L'estetica musicale dal settecento a oggi
... One among many performative and improvisational procedures typical of both instrumentalists and singers was the diminution, that is to say a melody, which would follow the progression of its own line and in which the intervals would be filled by faster ornamentation (Peters, 2009). In singing, the virtuosic variation of melodic lines-which would later become a fundamental element of the bel canto in Italian melodrama-was the rule in the 18th century, when the famous aria col da capo (an aria expressly devoted to variations and improvisation) was turned into a mainstay of the cantata and of vocal music in general (Fubini, 2003). This resulted in triumphant performances, as well as excesses from the singing stars of the time, at least until Rossini influenced everybody back to a much more rigorous fidelity of interpretation (even if, truth be told, Rossini's written variations are soaked in improvisational experience). ...
... For instance, organists would be expected to show strong improvisational skills in contrapuntal style and on given material. All prominent composers-from both Gabrieli to Frescobaldi; from Buxtehude to Bach-were excellent improvisers for organ and harpsichord (Fubini, 1987). The organ improvising challenges between Scarlatti and Händel in 1708 in Rome are legendary; the same for Mozart and Clementi's in 1781 in Vienna, this time playing the piano. ...
... The organ improvising challenges between Scarlatti and Händel in 1708 in Rome are legendary; the same for Mozart and Clementi's in 1781 in Vienna, this time playing the piano. In contemporary music improvisation is given a fundamental role, strictly connected to the idea of risk, therefore of casualty (Fubini, 2003;Migliaccio, 2009). A new genre of brief music, the impromptu (from the Latin in-promptu)-an extemporary piece of music, especially for piano, that could take the form of a Lied, of a minuet, of a theme with variations, of a scherzo or of a sonata-was used by, among others, famous masters such as Chopin (in op. ...
Musical improvisation is the expressive capacity of a performer fostered by access to their own “productive” (creative) or “reproductive” (mnestic) tonal imagery: a eld of consciousness that includes experiences, images that are inter- nal, combined, distorted, associated, or in competition between themselves. In the highly original form of life that is jazz, narrating means directing time: a time of epiphanies and introversions, of intuitions and revelations, of syncopated rhythms and aesthetic insights, which appear and disappear on the edges of inter- ference between consciousness and the unconscious. The performing urgency of gestures, voices, and sounds, although arranged in the same scene, highlights the difference in individual time. In this intense activity of opposition and resolu- tion the experience becomes an unstable territory that rests on the capacity of the body to remember, decide, anticipate, and invent. The ego reveals itself to be an emerging representation of our nerve structures and, even if conscious organiza- tion continues to be attributed to it, its role is not at all crucial. Unity, if anything, means coordination. The conscious ego is the expression of the body. In its ulti- mate form its unity is a biological problem.
... Nella sua opera, specie la produzione incentrata sul contrappunto degli ultimi anni, la definizione leibniziana della musica 24 sembra proprio trovare una concretizzazione. Un numero, un ordine di razionalità, un concetto matematico diventano sensibili a una percezione uditiva, assumendo un'ulteriore essenza di tipo estetico; il suono inizia a essere considerato unicamente nella sua idealità e non più nella sua dimensione fisica, diventa rarefatto e immateriale 25 ; la musica, ormai lontana da finalità terze come la liturgia, la pedagogia o il diletto, assume l'unico scopo di provare «l'autonomia, autosufficienza e validità del linguaggio dei suoni» 26 . È così che la musica di Bach diventa speculazione, in cui elementi di ragione non vengono solo percepiti come tali nella loro astrattezza, ma anche come espressioni sensibili del "bello". ...
The connection between science and mathematics is often considered necessary and insoluble. Therefore, a relationship between mathematics and humanities or arts is deemed exceptional or sometimes unnatural. Nevertheless, on the basis of historical, ontological and epistemological researches it can be noted that it’s impossible to warrant the immediate identification between mathematics and sciences on a deeper level than the practical one. Given the instrumentality and then the unnecessity of this connection, the relationship between mathematics and not-scientific disciplines is undeniable, even if the mathematics in the explicit formalisms which we know doesn’t appear in them. It’s possible to demonstrate this relationship not only with philosophical argumentations, but also whit empirical verifications, e.g. in the music and in particular in the music of J. S. Bach. Such an epistemological thought finally leads to the question on the possibility of knowledge in the art in comparison to the epistemological characteristics of the Galilean and Post-Galilean science.
... Son chant réussit à séduire les plus puissants -c'est-à-dire, à mettre en mouvement et à dé-tourner d'un chemin. Vue sous cet angle, l'émergence d'une véritable passion pour la musique (Fubini, 2007;Gess, 2011), et plus particulièrement pour la voix (Tibi, 2003), à l'époque postrévolutionnaire où les sociétés et nations européennes cherchent leurs voies et redéfinissent le sens de leur histoire, n'a rien d'étonnant. Plus précisément, si elle possède une dimension politique, celle-ci est loin d'être réductible à des questions « circonstantielles », comme celle de ses diverses « utilisations » dans des contextes idéologiquement marqués (Donegani, 2004). ...
p>The article proposes a reflection concerning the connections between the voice representations or vocal practices, worked out towards the end of the Enlightenment period and in the first decades of the 19th century in the French cultural area, and the birth of the socio-economic system characteristic of the bourgeois society. The paper focuses, in particular, on political presuppositions – in the Aristotelian sense of the word « political » – on which all the uses of voice, both spoken and sung, are based. The objective of the study is to understand the status of voice and singing in the process of creation of a modern anthropology.</p
... Si vedano, tra i tanti:Dallin, 1974;Morgan, 1991;Simms, 1996;Cope, 1997;Kostka, 1998;Sciarrino, 1998;Fubini, 2001;Von der Weid, 2002;Catalán Sanchez, 2003;Dalmonte, 2007;Ross, 2007;Persichetti, 2009. ...
... It is interesting, at this point, to observe [27] that many of the supporters of both the naturality and the esthetical superiority of Tonal Orthodoxy identified in Andreas Werck-5 a celebrated exposition of this argument was expressed,curiously, in "Human Sciences" by Claude Levi-Strauss, the father of all the discussions concerning the antinomy Nature versus Culture, in the "Overture" of [24] where he critizes the attitude by Pierre Boulez and many "serial thinkers" , of forgetting and deleting the existence of what he calls "the first level of articulation"; it should be observed, with this regard, that such a charge cannot be ascribed to Arnold Schönberg himself who clearly expressed, cfr. the cap.12 "Valutazione apollinea di un epoca dionisiaca" of [25] and the here cited analysis contained in the 7 th section "Sospensione ed eliminazione della tonalitá" and the 8 th section "La scala cromatica come fondamento della tonalitá" of the 19 th chapter "Alcune aggiunte e schemi che integrano il sistema" of [26], that his theory of dissonance's emancipation considered dissonances as farer consonances in the sequences of harmonics meister's [28] introduction 6 of the chromatic equally-tempered scale the first semen of the atonal heresy, as it is condensed in the following sentence by Paul Hindemith about the discovery of the equable-tempering: ...
Some little step forward is made in the analysis of the mathematical structure of Tonal Harmony, a task begun by Galilei, Euler and the Lagrange of the first two volumes of Miscellania Taurinensia
El artículo versa sobre la pasión por la música, sobre todo clásica (Mozart, Bach, Beethoven), que Luis Cernuda sintió y expresó en su obra lírica y narrativa, especialmente durante la época de su exilio en el Reino Unido, Estados Unidos y México. En particular, se analizan algunos poemas en prosa de la colección Ocnos, escritos entre 1940 y 1956, pero también poemas de Como quien espera el alba, Con las horas contadas y Desolación de la Quimera, y los relatos En la costa de Santiniebla (1937) y El sarao (1942), donde la escucha de las notas del piano o de la guitarra se compara con el proceso de la creación poética y la experiencia erótica al mismo tiempo. En la segunda y última parte se estudian los reflejos de esta pasión en lo que atañe a la importante labor traductora que Cernuda realizó con respecto a la literatura en lengua inglesa: a través de su acertada versión de «A Toccata of Galuppi’s» (1855) de Robert Browning, llevada a cabo en 1955 y retocada en 1960, el poeta sevillano demuestra una eficaz adhesión tanto al culto por la música como al «sensuous thought» del escritor inglés
This essay aims to inquiry into the main factors responsible for the
growth of modern acoustics, which basically have to be traced back to
the empirical turn occurred in science of music around 1600. Helmholtz’s
theory of sound will be regarded as most scientifically significant
archetype of modern acoustics. In Section 1 a general historical overview
of the science of music will be given and its importance for the
development of modern science and mathematics considered. In Section
2 the internal historical roots of modern acoustics, thus of Helmholtz’s
theory of sound will be analyzed. Finally, in Section 3 positive and
negative elements of Helmholtz’s acoustic will be discussed and its external
historical roots as well as its actual epistemological relevance
examined.
This work was conceived as if it were an imaginary path proper to a compositional
act in the context of acousmatic music. Before travelling this path I dwelt
on some personal considerations about the identity of the listening space, the
perception of it and the role that loudspeaker orchestras assume in the listening
space.
On the basis of Umberto Eco's concept of the openness of a work of art and including
also examples from the past, I have considered the perception of works
of art as subjective and in the case of music, open to infinite interpretations by
the composer, the performer, the audience and the listening space. In this
sense, I have assumed that the perception of a sonic event can never be objective
even in anechoic listening spaces. Furthermore, I have stressed the importance
of the composer's encounter with the listening space in an acousmatic
situation and have considered such a phase as a moment in which the composer
encounters “spatiality”. Here, and taking my cue from Deleuze's poststructuralist
ideas which focus on the concepts of virtual and actual, I have
considered this proactive phase as a virtualization phase, since the listening
space and the combination of elements within it, offer the composer the potentials
to establish a relationship with his or her own archetypal images. In this
sense I believe that, in the context of acousmatic music, the listening space is
the incipit of the compositional act as well as the explicit since it is also the ultimate
space wherein the virtuality is actualised. Therefore I have focused,
where and when it is not possible to work in situ, on the importance of experiencing
the space itself by imagining and consulting the mapping of the listening
space.
Going forward in my imaginary path, I have written about the profound relationship
between sound material and the composer, and this I have called "the
first act", which is then followed by the phase wherein the composer judges his
or her own work. The latter, defined by Horacio Viaggione as “perceptual feed-
back loop” is a constant cycle, in which the composer judges his or her own action
and the perception of it. This path has therefore led me to the next phase,
which is the phase of structuring the material. Here, I focus on the structuring
of music according to the processes of motions. These concepts were coined
for the first time by Denis Smalley in his article "Spectromorphology" to underline
the inadequacy of traditional concepts of rhythm, which were first explored
by him from an aural perception point of view and then later by other authors
from a creative- technical and analytical one. Motion processes have been
defined by Smalley, Maurizio Giri and Alessandro Cipriani as both spectrally and
spatially applicable. Their statements however, made me consider a different
way of understanding spatial motions and, in this regard, I found Trevor Wishart's
research fascinating, who unlike the above-mentioned authors, considers
spatial motions as independent expressive music parameters, which I will deal
with in the last chapter of this text.
My intention has been therefore to shed light on this ongoing research precisely
because I believe that an awareness of the concepts of motions at a spatial
level can be useful to the acousmatic composer. This need arises from the
fact that even today, space as a compositional parameter is difficult to transcribe
and often the indications given to the interpreter are approximate. As
Alvise Vidolin rightly noted, this attitude is determined by two factors: the
need to experiment and to find new expressive possibilities linked to the identity
of a listening space, and the fact that in placing tight constraints on the
listening space the difficulty of the realisation of the work may reduce the possibilities
of its circulation.
Thanks to this research I have understood that before approaching the compositional
phase of structuring and organizing music, and in the case of acousmatic
music or in music(s) where space itself is a parameter of composition, it
is necessary to experience the listening space. I have for this reason entitled
this work "Protos Topos". In particular, "Protos Topos" from the Greek, meaning
'primary space', was chosen to emphasise that in acousmatic composition the primary role that the great Greek musicologist Aristoxenus had assigned to the
primary Tempo calling it "Protos Chronos", is no longer “Primary Tempo" but
"Primary Space". In this sense I felt the need to consider the listening space as
the Protos Topos - the theatre of the motion of sounds.
Este artículo representa un esfuerzo por comprender algunas de las implicaciones epistémicas introducidas en la racionalidad occidental por la formulación pitagórica de la harmonía en términos de razones numéricas. Se discute el papel que la música tuvo en el surgimiento de esa racionalidad, y el origen de la distinción entre pitagóricos acusmáticos y matemáticos es rastreado discutiendo su concepción más difundida. Finalmente son presentados algunos elementos de la teoría musical de Aristóxeno que se oponen directamente a la sostenida por los pitagóricos.
Diderot and musical hieroglyphsWith the notion of hieroglyph, Diderot tries to demonstrate that listening to poetry and music involves a schematic indication that, as in a rough draft, helps to produce images. Pleasure is generated by the recognition of an ideogrammatical representation which is impressed on the memory thanks to the relationships it establishes between sounds. That is when the unity of the experience is stabilised, and the perception can be heard as a totality projecting meaning. The musical hieroglyph, which is a subtle and fugitive trace, highlights the intervention, in the organisation of sense data, of an intermediate residuum which merely suggests it. In fact, the growth of the expression is accompanied by an inevitable loss, an aberration or a drift of meaning, an insolubility of structure which opens sound to a multiplicity of depths.
The authors note that the element of sound and music has no place in the model of mental functioning bequeathed to us by Freud, which is dominated by the visual and the representational. They consider the reasons for this exclusion and its consequences, and ask whether the simple biographical explanation offered by Freud himself is acceptable. This contribution reconstructs the historical and cultural background to that exclusion, cites some relevant emblematic passages, and discusses Freud's position on music and on the aesthetic experience in general. Particular attention is devoted to the relationship between Freud and Lipps, which is important both for the originality of Lipps's thinking in the turn-of-the-century debate and for his ideas on the musical aspects of the foundations of psychic life, at which Freud 'stopped', as he himself wrote. Moreover, the shade of Lipps accompanied Freud throughout his scientific career from 1898 to 1938. Like all foundations, that of psychoanalysis was shaped by a system of inclusions and exclusions. The exclusion of the element of sound and music is understandable in view of the cultural background to the development of the concepts of the representational unconscious and infantile sexuality. While the consequences have been far reaching, the knowledge accumulated since that exclusion enables us to resume, albeit on a different basis, the composition of the 'unfinished symphony' of the relationship between psychoanalysis and music.
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