L'estetica musicale del Novecento. Tendenze e problemi

188 Pages·2014·2.79 MB·Italian

by  Michela Garda

STUDSIU PERIOR/I5 3 4
ILP ENSIEMRUOS ICALE
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Indice
Introduzione 9
r. Musiecl ai nguaggio 13
r.r. Illi ngumaugsgiicoma eltea:fo oe rqau invzaal?e 13
I2.. Modlelain tagonisti 15
I3.. Somigldiiaefnrfzeena,zs ei,m metrie 20
I4.. Filososfiiem bdsoeellmo i,o els oegmiiao tica 26
I5.. Musiect ar ascenddeimllei nntgou aggio 40
2. Seness oi gninfieclamltuaos ica 45
2.IT.r sae nesn oo ns enso 45
22.. lnfeafbilittràa,s nceznaad,lel egoria 52
2.3D.i aledtetslie cnas o 66
24.. Sesnof,o ram,se ntimento 68
2.5M.u siecm ao nd:to poogie,s ttrio,p i 76
26.. Pratiicdheeo,ld oegcioes,t ruzioni 78
27.. Coda 84
3· L'poerdaa' rte musicale 87
3·.I Pratmiucshieec atlie eosrtieet iche 87
32.. Lo'pedra'ar ttrefa eo nmenoleodeg rimae neutic9a2
3·3D·a loln't oldoeglila'd oa'preatrleatl eao era ilasl tao ria
delrliac ezione 94
7
34·· Questdiiao nntio logia 97
35·· Ilc oncedti"t pooe "rn aecla nodnies cipmluisnia-re
cloo gico 150
36.. Laf edeall'utlaàt ore 170
37·· Lo'perilta e,s ttrfoade eletc ào nfldietltilone t erpre-
ta zioni 151
38.. Lo'petrraaa r eta en tiarte 121
39·· Coda 126
4· Lam usieci atl empo 129
4·.! Tempot eem poralità 129
4.2T.r opi cdaedlulcai tà 133
4·3·L o'rdidnetele mpo 163
4·4·L am uisclaa,b orastpoerciuolp aeltr'i aivgnoid finleo -
sofiscual tleam poralità 139
4··5 Las condfiettlte am po 154
4.6I.lt e mpeo d ilo minuitoo:pd ieselu peramento1 15
4·7·M ultivmeurssiucma le 153
Riefrimbeinbtlii ografici 157
Indidceneio mi 179
8
Introduzione
Nelc ordseoxl x secoilldo i scosruslmloua s iscia n oèt evolmente
ampaltiloa:p resednezlmalu as iconleoluglnieia v eirtsailteiàua ­rnoe,
pees tea tunèia tuemnesneits aiètc ao nsoliinmd aantiase orrap ren­
dentleat, e omruisai ceal l'ee tnomuhsaincnosolo olglienavu aotvoi
probleer miifl esmseinotnlriae; musisctoolreoli gacfii ala o lmoug­ia
sichaalnen o iplre uroscloeo n tarlall'ei dnetledlrians oc iepl lai na
teomruisai csaièle em anciipnma itsauv riaa mvaigag idoarrleu o lo
dii ntrodeut zeiconndieec lcalo am posipzeiarofr fnoen tparroeb lemi
dic aratptigeùer nee rIanql uee.st traa sforlmama uzsiiocnoehl ao gia
elaborcaotnof ruponrn otdou ctotmnio vlott een definlzoes o(filcah e
feonmenoal,o gli'ermielmn aeruxtiilscamda oi,,a lentetgiactiail v a,
decostruezi ilpo onsitssmtor utet cuornda ilsicsimspopl)ei cniefi che
comleal insgtuilicasa e,m ioetl iasc eam iolloatg eiodare,iil anl f'aor­m
zioInc eo.m possitteossrosipi r,a tnteulstletaco o mnedtadà e sle colo
scsoorh,a nnaol imelnatd aitsoc usesl iaro inmfeuo lrazdieodlni e­
scorso ainltmlouars nicoco arn i flesdsipi ooentiei sctar emainm­ente
cisUinvear. a ssdeigpn ean ssiuellrmaiu sifcoar munleaNlto iv ecento
saredbubneq iumep osspiebmrilo elm ea,s opratitnustetnos ata per­
chréi sultsetraecbdcbaaefltlu ac rdoe ldlias cusesd iapoirn oeb lemi
tecnsipceic cihfivece in gosnooll evNea ltp ir.o fidleolm luas icologia
sistemdaitsiecgdana,Ga utiodA od laelrfil nade e 'lOlttoecr eindteo­
finito senceolmnledata dà e Nlo vecdenaAt lob eWretl leed cakC arl
Dahaluh,sl s'teetmiucsai crailseuu lnatb ar andceal la mussii­cologia
stemaQtuiecasca to.n cezciooglnlaeic eo lloctaozpioognrea fico-disci­
plinairdee amlaoe g,g i risulrtiad enfieincc ieorsnnsfieean criioi ­mo
piitnim anipeirflùau idsaf uaemt. a
Innatnuztlits' ote etmiucsaail crea ppreusnaef notradm iad iscorso
sulmluasc iaC.o mien t utltee airntfiaa,tn tciph,eel r am usilcada i ­
mensivoenrebè ai lnee ludiinqb uialneets,osr aa ppreilsm eendtiau m
univeirncs uasilia e r tiicnuo nlfaaro ,m ain tersoegc goemtutniivcaa ­
billear, i flees,ss iieoasn spae nscaotmaue n ar iflesmseitoanlei ngui-
9
'
L ESTETICA MUSICALE DEL �OVECE�TO
stiocpap uerrem enecuutlitcuasr,tia ocl.rÈae i,n eviutsaablriepel a e­
rolpeep ra rldaimr ueis cNao.n qpueers itdloi scsourlsmloua s ièc a
estraa nseeaoss, u perofli urorv ialneEtses.ro a pprepsieuntttiaol s to
legacmhele a m usiicnat ractotnli aes nfee ra cudletliulnsra ea n so
ampiQou.e satmob iètq ou alcdois ap isùe mdpelclio cnet iensc tuoi
sic ollloo'pceadr a'ar tmeu siccahlseeip , u òm ettterrpaeae rntiens i
un'naalmiussii ciamlmea neInldt ies.c sourlsmloua s idciacc eh ceo sa
signqiufiec'rsaatt pee crh lia c ompopneecr,h liae segeup ee crh i
la'scoilnut noa r izzsotnotrdeie ctoe artm.Qoi unesdtios cèos res­mo
pruen d iscsourslse on asnoc,qh uea nèda ot tipveadrti orc ehq eu e­
stsoe nnsoone siasldt ief uodreilc loan craerttiac odlealzli'oonpee ra
musiccaolmneee, l la posizidoatn uetu tnsacao o srtrecenoniustdte­a
detftoara mlicshtfeaa caadHp aon sleci chskef oicnid ai veprossei ­
zioni dello strutturalismo musicale.
Comes perrios ultedraàl tlcraha itatrcaohz seige ounele,' estetica
musiciallleui sd tirsacs ourlmsluias iscualb lasaed ic ompetteencz­e
nicshteo ricoarmgeanntieQz uzeasdttieis. c soiar rstii cionl atdneios ti
tipoldoifgrfeieen( tsia mgugsii coltoegsfiitlcioi s,om fiacnii,f esti di
poectasi,i stdeim it meuosriicata rlaet,tc aotmip odsiic zhiseoo nneo)
ind ialcoognoo r izzonti( Bfiolr2oi00so5)o, fi ceco iin n dadgiisncii ­
plinsapreic icfiocmh-eep ,e fra rseol aol ceusneim -plial ingiuc,ia st
la'ntroap,oic l uolrgtaisu!t udIine sq.u estlos' teestmeiuncssaoi csail e
presceonmtlaei' d ngaindeiu nrae tdei scoirc suniiov dami e ttionn o
relazciaomndpeii v eArnscihl.eafi losdoefillmaau siècu ani ntceu­rlo
tordee ll'emsutseitcmiaacln aeo ,nu ns usoi nonpiimbùol asonato.
Lo'ggeèt tlsoot s eos, lmepa r ospestotnsioev nes ibidlimveenrtsee
percshipé a rdtaed ifferpeunntdtiiiv ias:lt afi losdoefilaml uais ca
scatudrari isflcees fislioosnoigfi ecnheeer c aelridc ida e finliamr ues­ i
cai nq uanotgog eptatrot icolrairlmeevnaltneste ue t ee p;sle is'rte eti­
cam usicparleenl deme o ssien,v edclaep ,a rldaerlmelu as iecs au lla
musipcear provseergusun'aoin raeld iesllriea gieod neilp laes sioni di
quedsitsic aollrosriion teerr nios paeltlltoeorp oo sizniesolin sit ema
più vdaeslctluoalr t.au
Anchienq uesptrao spedtatriev adc eolln'toe smtuestiicdcaeall e
Novecesnatroeu bnbc eo mpeintmooer c,h ter avaliicslh eenrseob be
diq uesvtool utmoei,tlq uaslipe r efiiglcg oem pitmoo dpeisdùti o
un'introdauiz itaoellnmpeeir ,o speeta tlidlveie s cuspsriionncii pali
desle coslcsooo rP.e qru esstios cèe dliti os olqauraetp turnopt rio ­
spetatbiabcsit,aa nmzpdaia f ormdaerie ccaomnpcie titnutaoalr in,o
cusiii rragdgiisacnuosr siiloenvpiau nntdtiii s neo dsoe manIt ico.
quatctarmop( il ingusaegngosipooe,,,rt aempcoo)i ncicdootnne om i
clasdseilcli' emsutseitcciahcnleae eN l o vecheanntnoco o agulil'na-to
IO
INTRODUZIONE
teredsirs aep presdeipn otsainzfitilioo nsioe fid cieh sep ercioe­mnze
posietdie vset etmioclhdteioe f rfenLto'ir.d idne'ellse positziieonnee
condteoli e gadmipi a renttrieac l aam pprie isnei sm aeI.p ridmuie
cam-p"iilngua,g "geesi noseos igcnai,tfi os-onsot rettlagemae­nte
tic,o mleos on"opo e,r a"eet mop,N.e lplrai cmoap piiplar itmeor ­
miniel luist ternatd aitd ievsiicv relrame u siicnta e rmdiiln iin guag­
gi,oo vvesrico o ncesnut"lris ag nifi,cl,aa nstceioapnadicoplo r o­ces
so sdiig nificiaslz eicoonsnepd;oo ls at'cac esnutplor obldeemlsali a­
gnifica"zpoieo,rn ae";eet mp,os ia prosnuod ueo rizzdoinvteir si,
chdee finciormeieitl empion teerq nuoe lelsot eorvvneor,so t o,r ico
delol'perLaac .o ntrocvaetresgdaoi" r poieard aa' rtmeu si,ci,an loel­
tr,ce ostiutnuai scsdeoif r lutcari on toarlqn uoa rlueo tlaena ol tre
ricognAi pzairogtnloeiic . sc iaonrailciha ilavlmaair ieme otlàt eplicità
delcluel tmuursei cqauleisl,ti obv reori tnet oarp nroo bleed miis cus­
siocnhire i gualradt arnaod imzuisoinoceac lcei decnotlaatlllaqae ua ­
lele 'stemtuisciaca allmeefi,nn ooa o ggèii ,n dissollugebtaial.m ente
Ses ic oncqeudeesp taor agfionnoelr,s'a te emtuisciacè s atlaedt oam i­
natdaas oggpeatrtliua nans toill ai ngmuuas icLa'plaeer.t duer'laol ­
rizzoenstteea tlilmcaoo l tepdleillc"eiuc tlàt, u mruesailcsia ruàn
compiinteol updeirb imluuensa i coclhoiegn qi uae ssteoc oald oiff­,e
rendzeaci a issio dleaslte ic porloe ced(eedlnq tueas lite r aitnqt uae ­
stloi ob,)rp arcloar rentpeimlùei nntgeu e evs eorpbraaltmitu us­tito
cali.
Molti llaemtetnotrelira a nnmcnaaond ziua n cao llocazione stori­
cad elmlaat eLrais ac.e dlimt eat tine prrei pmioa inp or obleel mei
argomenrtiaszpiaeolotnlfti'rfo er ipuann orsatmoarè is ctoad teat tata
daldlias pondiiob ginlfiirot màad ia usi(ladiido i ziomnuasriicfi a­li,
losoeficccai.I ntnee.rtC )hil egpgueòi nb revistseimmpeoo c on
pocfaa tica mootltteein neopfrriemù a zdiiqo unain stee p noet rebbe­
rof ornqiuriienb reev eda e trimdeenlstleoam pldiecelisltp'ào sizio­
neN.e ppusrièe v oludtaors ep azait ou ttveo :cll ie'eas ustsivai­tà
rebabndea tasa c apdieatllp oe rspiLc'nuitietndàtiq.o u esltiobi rno­,
fattdiim, o sèt raalrcepu neirs cieo c ronnesssuigognediras i itnig ole
questeip ornoib leen moind ic ostiutnusaii rnete enscoiip ceildca.
It emtir atitnqa uteisl tiob ros tsaootgnigo e dtist voa rcioaretss iie ­
minatrein nuetgiul lit qiumai tatnrnoi plrafe ascsodoliM t uàs icolo­
gidae ll'UndiiPv aevrcisoains t eàdi enC remao.Ln ed omanedl ee
perpledsesgsiltitun àdt seio nsot aitlpe u ntop adrit epnezmroa l te
delrliefl esisnei soscnooi n teLnaus ttee.sd uiqr uae svtool uèms et ata
possigbrialzei sep laelnlbdaii bdlai eoa tleplcaaac mee ditdaetilv a
MusiDce partedmeelPnlrtai ncUentiovne rpsrietsiyslq,o u ale sono
II