Schoenberg/Boulez: ideia/sistema
Two main texts have guided this study: New music, outmoded music, style and idea, written by Arnold SCHOENBERG (1977b) in 1946, and System and idea, written by Pierre BOULEZ (1986) in 1986. Firstly, the concept of 'musical idea' is dealt with in several of Schonberg's texts. The conce...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2016 |
| País: | Brasil |
| Institución: | Universidade Federal de Minas Gerais (UFMG) |
| Repositorio: | Repositório Institucional da UFMG |
| Idioma: | portugués |
| OAI Identifier: | oai:repositorio.ufmg.br:1843/37044 |
| Acceso en línea: | https://doi.org/10.1590/permusi20163302 http://hdl.handle.net/1843/37044 |
| Access Level: | acceso abierto |
| Palabra clave: | Arnold Schoenberg Pierre Boulez Ideia musical e composição Prelúdio do Op. 25 de Schoenberg Música - Análise, interpretação e apreciação Schoenberg, Arnold, 1874-1951 Boulez, Pierre, 1925-2016 |
| Sumario: | Two main texts have guided this study: New music, outmoded music, style and idea, written by Arnold SCHOENBERG (1977b) in 1946, and System and idea, written by Pierre BOULEZ (1986) in 1986. Firstly, the concept of 'musical idea' is dealt with in several of Schonberg's texts. The concept is then confronted with an analysis of Schoenberg's Prelude Op. 25 elaborated by Jack BOSS (2014). This analysis raises perception issues that lead to Boulez's text. This last text is approached with a focus on the relation between the 'musical idea' and the 'system', in connection with the Second Viennese School, and then with his own aesthetics. This article works on how these two concepts are articulated in the reflections of these two composers, who greatly influenced the directions of the transformation of musical language in the 20th century, and who are clearly located in a line of connection and continuity. |
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