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Numanities - Arts and Humanities in Progress 24 Oana Andreica Editor Music as Cultural Heritage and Novelty Numanities - Arts and Humanities in Progress Volume 24 Series Editor Dario Martinelli, Kaunas University of Technology, Kaunas, Lithuania Associate Editors Alin Olteanu, Aachen University, Aachen, Nordrhein-Westfalen, Germany Simona Stano, University of Turin & International Semiotics Institute, Torino, Italy Editorial Board Oana Andreica, Music Academy of Cluj, Cluj-Napoca, Romania Paulo Chagas, University of California, Riverside, CA, USA Teo Forcht Dagi, Queen’s University, Newton Centre, USA Kevin Holm-Hudson, School of Music, University of Kentucky, Lexington, KY, USA Seema Khanwalkar, Indian Institute of Management, Vastrapur, CEPT University, School of Design, Ahmedabad, Gujarat, India Lina Navickaite-Martinelli, Department of Music History, Lithuanian Academy of Music & Theatre, Vilnius, Lithuania Juha Ojala, DocMus Doctoral School, Sibelius Academy, Oulu, Finland Rima Povilioniene˙, Department of Music Theory, Lithuanian Academy of Music & Theatre, Vilnius, Lithuania John Tredinnick-Rowe, University of Exeter, Plymouth, UK Jessica Ullrich, Kunstakademie Münster, Münster, Nordrhein-Westfalen, Germany The series originates from the need to create a more proactive platform in the form of monographs and edited volumes in thematic collections, to contribute to the new emerging fields within art and humanistic research, and also to discuss the ongoing crisis of the humanities and its possible solutions, in a spirit that should be both critical and self-critical. “Numanities” (New Humanities) aim at unifying the various approaches and potentials of arts and humanities in the context, dynamics and problems of current societies. The series, indexed in Scopus, is intended to target a broad academic audi- ence. Aside from taking interest in work generally deemed as ‘traditional humanities research’, Numanities are also focused on texts which meet the demands of societal changes. Such texts include multi/inter/cross/transdisciplinary dialogues between humanities and social, or natural sciences. Moreover, the series is interested also in what one may call “humanities in disguise”, that is, works that may currently belong to non-humanistic areas, but remain epistemologically rooted in a humanistic vision of the world. We also welcome are less academically-conventional forms of research animated by creative and innovative humanities-based approaches, as well as applied humanities. Lastly, this book series is interested in forms of investigations in which the humanities monitor and critically asses their scientific status and social condition. This series will publish monographs, edited volumes, and commented translations. Oana Andreica Editor Music as Cultural Heritage and Novelty Editor Oana Andreica Gheorghe Dima Music Academy Cluj-Napoca, Romania ISSN 2510-442X ISSN 2510-4438 (electronic) Numanities-Arts and Humanities in Progress ISBN 978-3-031-11145-7 ISBN 978-3-031-11146-4 (eBook) https://doi.org/10.1007/978-3-031-11146-4 © The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerland AG 2022 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors, and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, expressed or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations. This Springer imprint is published by the registered company Springer Nature Switzerland AG The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland Preface Old and new, tradition and innovation, and heritage and novelty: these complemen- tary categories, where they intersect and how they relate to one another, represent the basic premise for this volume. The debate around these notions, a commonplace in the study of culture, has nurtured many reflections within an area of musicological research that belongs to classical studies, comparative musicology, music anthro- pology and sociology alike. There can be no innovation without a tradition to refer to, and tradition always stems from what was new at a certain time in history. It goes without saying that we are dealing with a virtually infinite array of possible subjects, approaches and standpoints, which make such a general theme all the more appealing. Readers of this volume will find a collection of topics originally introduced at the 14th International Congress on Musical Signification, held at the “Gheorghe Dima” Music Academy of Cluj-Napoca, Romania. These studies reflect the major purpose of this meeting, which was to re-examine some of the assumptions upon which the analysis of music has been based traditionally, and to propose ways in which not only these assumptions, but also recent methods and perspectives can open new pathways in musicological research. In these studies, the authors, leading experts in our field, as well as excellent young scholars, invite the readers to explore a vast cultural territory spanning from Serbia to Brazil, from Romania to Poland, and from Hungary to the United States, with the common purpose of investigating various musical phenomena in relationship with the tradition they belong to and how they forge—or are forged by—the modernity of their own times. What also unites these papers, belonging to scholars from different musicological traditions and focused on otherwise heterogeneous topics, is the shared belief that music signifies that it has a meaning and it has a message. Thus, musical signification stands at the core of this collection. The book is divided into five sections. Part I is dedicated to broader views on music history. Eero Tarasti’s study sets the tone for the volume, contextualizing the central concept of “modern” and considering it from multiple angles—existential, philosophical and phenomenological. To find its meaning in music, Tarasti looks back to the beginning of the twentieth century and explores modernity as it manifested v vi Preface in various geographical regions. “Modern” is then analyzed from a semiotic standpoint. An important aspect of Tarasti’s study is the distinction he operates between “innovation” and “novelty.” Konstantin Zenkin discusses at length some of the paradigms that articulate Euro- pean classical music, among which he analyzes speech, gesture-dance-ritual and the laws of natural processes. With special focus on the twentieth century, Konstantin Zenkin points to Igor Stravinsky as the leading figure of a generation that fueled radical changes while never abandoning the heritage of the predecessors. In her interdisciplinary approach connecting music to literature and neurosciences, Márta Grabócz examines the invariants and universals and their influence on memory. She looks at the musical topics as a special type of invariants, with concrete examples from Classicism and Romanticism and from the works of composers such as Liszt and Mahler. Dario Martinelli takes the debate around the two main concepts of this volume into the field of popular music: music videos are considered from the angle of historical semiotics, i.e., defined and classified according to their main stylistic traits, followed back to their roots in the late nineteenth century and marked by the revolutionary achievements of The Beatles. Part II deals with the musical text from the point of view of philosophy and narrative strategies. Paulo C. Chagas proposes a phenomenological approach of the relationship between music and affect, discussing concepts such as “autopoiesis,” “self-organization” and “self-realization.” The same phenomenological perspective is subsequently used to look into electroacoustic music and the musics of Morton Feldman and Yannis Xenakis. Mark Reybrouck’s paper discusses how listening to music creates a multi-layered experience and how the meaning of music comes from the complex interaction between the senses, physiology, behavior and cognition. Takemi Sosa’s study focuses on narrativity and musical gestures. Byron Almén’s and Eero Tarasti’s theories, among others, are taken as references and applied to examples from Beethoven and Mahler. Narrativity is also the concept at the center of Joan Grimalt’s research, this time oriented toward the instrumental music of the Classical era and the theory of musical topics. Joan Grimalt is particularly interested in finding the source of the musical humor and explores some of its various instances in the music of the Viennese composers. Part III comprises studies on musical performance. Juha Ojala explores it from a semiotic perspective: the musical work is seen as a legisign, whereas the performance as a sinsign. The performer’s creativity, its boundaries and constraints, as well as the performer’s “working space” are among the main concepts analyzed. Eveliina Sumelius-Lindblom examines Adorno’s critical theory from the performer’s standpoint, whereas the two methods she uses (conceptual analysis and embodied intertextuality) concern the act of musical performance in itself. This theoretical basis is then used to explain Stravinsky’s neoclassicism and the substantial intertextual ramifications that define it. Preface vii Part IV of the volume focuses on the issue of national identities. Thus, self and identity are the two main concepts around which Ewa Schreiber builds her research. The two paradigms she chooses to exemplify her theoretical findings are the modern composers György Ligeti and Jonathan Harvey, two apparently diamet- rically opposed personalities as far as their views on the concept of identity are concerned, but who, nevertheless, share a common ground. Iwona Sowkinska-Fruhtrunk examines the concepts of perception and mimetic hypothesis as theorized by Arnie Cox, which she applies to Schoenberg’s Chamber Symphony. Miloš Bralovic´’s study is dedicated to Serbian composer Stanojlo Rajicˇic´ and, more specifically, to the musical references he made to other composers, to how these references shaped Rajicˇic´’s own vocabulary and how the two works chosen for a detailed analysis reflect the maturity of his style. Dániel Nagy discusses Béla Bartók’s reception in Hungary, where he was considered as the leading representative of the cultural identity of the country. Dániel Nagy examines the place that Bartók occupies in the Hungarian discourse on national identity and the influence that this discourse had on the musicological research on the composer. Elena Boanca˘ brings to the foreground a Romanian artist whose international reputation is mainly due to his successful career as a conductor, but who was also an outstanding composer. His musical career is scrutinized through the relationship with the communist regime of Silvestri’s native land. Part V is dedicated to Brazilian traditions and also pays homage to a country from which many scholars preoccupied with musical signification have emerged. Ricardo Nogueira de Castro Monteiro analyzes, from a semiotic perspective, how myths and rituals are structured and provides the case study on the Reisado, a specific type of Epiphany celebration, encountered in the Brazilian region of Cariri. Heloísa de Duarte Valente presents a history of the musical genre of fado, seen as a link between Brazil, its country of origin, and Portugal. Special attention is given to the Brazilian city of Santos, the place with the largest population of Portuguese immigrants. Rodrigo Felicissimo’s study is a comparative analysis of Villa-Lobos’s tone poem Uirapuru, Stravinsky’s Firebird suite and Sibelius’s Tapiola, with the aim of revealing the common ground of musical signifiers that are to be found in these works. Conducting the research of primary documents that attest to the compositional process of the three works, Rodrigo Felicissimo discusses issues related to legends, myths and nature, and how they define national identities and musical styles. I would like to express my gratitude to the authors for their contribution and commitment to making this volume possible, and I hope the readers will enjoy these pages as much as we enjoyed putting them together. Cluj-Napoca, Romania Oana Andreica February 2022 Contents Part I Reconsidering Music History 1 What is ‘Modern’? How to Renew Musical Heritages or the Innovators and Reformers of Music History ............... 3 Eero Tarasti 2 Paradigms of European Music of the 18th–20th Centuries and Stravinsky’s Innovations ................................... 17 Konstantin Zenkin 3 Mémoire et invariants dans les œuvres de l’histoire musicale européenne, dans la littérature et dans les neurosciences .......... 43 Márta Grabócz 4 The Heritage Prior to Killing the Radio Star: How Modern Music Videos Were Shaped by Their Predecessors ................ 57 Dario Martinelli Part II Phenomenological Approaches, Meaning and Narrative Strategies 5 Music and Affect: Self, Sound Embodiment, and the Music of Feldman and Xenakis ....................................... 83 Paulo C. Chagas 6 Music as Ongoing Knowledge Construction: From Sound to Meaning ................................................... 111 Mark Reybrouck 7 Reconsideration of Musical Gesture as a Musical Event in a Narrative Discourse ....................................... 135 Takemi Sosa ix x Contents 8 A ‘Humorous’ Narrative Archetype in the Music of the Viennese Classics as a Subversive Device ................... 161 Joan Grimalt Part III Performance Studies 9 The Performer Between Heritage and Novelty: Aspects of Spatiality in Performer’s Creativity ........................... 177 Juha Ojala 10 Adorno’s Ideas on Stravinsky’s Neoclassicism Meet the Pianist’s Work: Reflecting Playing Experience with Adorno’s Key Concepts ................................... 195 Eveliina Sumelius-Lindblom Part IV National Legacies 11 “Polyphonic Personalities”. The Identity of a Modern Composer in the Self-reflection of György Ligeti and Jonathan Harvey ....................................................... 215 Ewa Schreiber 12 Active and Visual Perception of 20th-Century Music: The Mimetic Hypothesis of Arnie Cox Using the Example of Arnold Schoenberg’s Chamber Symphony,Op.9 ............... 241 Iwona Sowin´ska-Fruhtrunk 13 Moderate Modernism and the Socially Acceptable Paraphrase: Two Late Works by Serbian Composer Stanojlo Rajicˇic´ ....................................................... 261 Miloš Bralovic´ 14 Between Tradition and Modernity, East and West—Bartók’s Musicological Reception and the Narratives of Hungarian Identity ...................................................... 289 Dániel Nagy 15 Forbidden Messages. Romanian Musician Constantin Silvestri in the Light of an Existential Semiotic Approach ......... 313 Elena Boanca˘