Music and crisis
In this article the author does not consider crisis a threat, but in a modern sense, an auto-motive drive of art. Therefore, crisis does not affect the art from the outside, it does not hit it as an illness or a storm, but it always produces itself, which is considered to be a condition for...
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| Format: | Article |
| Language: | English |
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Serbian Academy of Sciences and Arts - Institute of Musicology of Serbian Academy of Sciences and Arts
2016-01-01
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| Series: | Muzikologija |
| Subjects: | |
| Online Access: | http://www.doiserbia.nb.rs/img/doi/1450-9814/2016/1450-98141621015M.pdf |
| Summary: | In this article the author does not consider crisis a threat, but in a modern
sense, an auto-motive drive of art. Therefore, crisis does not affect the
art from the outside, it does not hit it as an illness or a storm, but it
always produces itself, which is considered to be a condition for movement
in art. First of all, the author analyzes the notion of representation and
the four roots of the sufficient reason as a conservative and conserving
element of art, to which he opposes crisis and its self-production as
something that resists sclerotization of art forms. In music, the relation
between the ossified, "naturalized" structure and that which decomposes that
structure, manifests itself as the relation between harmony and disharmony.
The moment when harmony shows a tendency towards naturality, understanding
eternity and truth, an alarm is activated to show that music is being
paralyzed and it needs a deconstructive intervention of disharmony,
atonality and dissonance. |
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| ISSN: | 1450-9814 2406-0976 |