The Musicalization of Prose and Poetry in the Oeuvre of Daniil Kharms
The term ‘musicalization’ comes from Aldous Huxley’s novel <i>Point Counter Point</i> where it denotes the use of music-derived models in fiction. The oeuvre of Russian writer Daniil Kharms (1905–1942) provides telling examples of such an approach to constructing both prose and poetry, a...
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| Format: | Article |
| Language: | English |
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MDPI AG
2023-12-01
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| Series: | Arts |
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| Online Access: | https://www.mdpi.com/2076-0752/13/1/6 |
| _version_ | 1797298998365650944 |
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| author | Levon Hakobian |
| author_facet | Levon Hakobian |
| author_sort | Levon Hakobian |
| collection | DOAJ |
| description | The term ‘musicalization’ comes from Aldous Huxley’s novel <i>Point Counter Point</i> where it denotes the use of music-derived models in fiction. The oeuvre of Russian writer Daniil Kharms (1905–1942) provides telling examples of such an approach to constructing both prose and poetry, as in his works, the conventional features of art prose and art poetry are, as a rule, considerably reduced. Kharms’s pieces, typically, consist of discrete ‘incidents’, which can be compared to musical motifs or themes; their organization into finished works is often based upon principles that have their recognizable counterparts in art music of different epochs. Some of Kharms’s texts quoted and commented on in the article show affinities with compositional ideas by major twentieth-century composers such as Alban Berg, Witold Lutosławski, Morton Feldman, Gérard Grisey, and Sofia Gubaydulina. |
| first_indexed | 2024-03-07T22:44:09Z |
| format | Article |
| id | doaj.art-fbff1708380843e4a5fc49cfb425deec |
| institution | Directory Open Access Journal |
| issn | 2076-0752 |
| language | English |
| last_indexed | 2024-03-07T22:44:09Z |
| publishDate | 2023-12-01 |
| publisher | MDPI AG |
| record_format | Article |
| series | Arts |
| spelling | doaj.art-fbff1708380843e4a5fc49cfb425deec2024-02-23T15:06:51ZengMDPI AGArts2076-07522023-12-01131610.3390/arts13010006The Musicalization of Prose and Poetry in the Oeuvre of Daniil KharmsLevon Hakobian0Department of Music Theory, Institute for Art Studies, 125375 Moscow, RussiaThe term ‘musicalization’ comes from Aldous Huxley’s novel <i>Point Counter Point</i> where it denotes the use of music-derived models in fiction. The oeuvre of Russian writer Daniil Kharms (1905–1942) provides telling examples of such an approach to constructing both prose and poetry, as in his works, the conventional features of art prose and art poetry are, as a rule, considerably reduced. Kharms’s pieces, typically, consist of discrete ‘incidents’, which can be compared to musical motifs or themes; their organization into finished works is often based upon principles that have their recognizable counterparts in art music of different epochs. Some of Kharms’s texts quoted and commented on in the article show affinities with compositional ideas by major twentieth-century composers such as Alban Berg, Witold Lutosławski, Morton Feldman, Gérard Grisey, and Sofia Gubaydulina.https://www.mdpi.com/2076-0752/13/1/6Daniil KharmsAldous Huxleymusicalization of fictionIncidentsfugatosymphony |
| spellingShingle | Levon Hakobian The Musicalization of Prose and Poetry in the Oeuvre of Daniil Kharms Arts Daniil Kharms Aldous Huxley musicalization of fiction Incidents fugato symphony |
| title | The Musicalization of Prose and Poetry in the Oeuvre of Daniil Kharms |
| title_full | The Musicalization of Prose and Poetry in the Oeuvre of Daniil Kharms |
| title_fullStr | The Musicalization of Prose and Poetry in the Oeuvre of Daniil Kharms |
| title_full_unstemmed | The Musicalization of Prose and Poetry in the Oeuvre of Daniil Kharms |
| title_short | The Musicalization of Prose and Poetry in the Oeuvre of Daniil Kharms |
| title_sort | musicalization of prose and poetry in the oeuvre of daniil kharms |
| topic | Daniil Kharms Aldous Huxley musicalization of fiction Incidents fugato symphony |
| url | https://www.mdpi.com/2076-0752/13/1/6 |
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