.
Vanguard: this term that haunts us now for more than 50 years, seems to have de-legitimized by its own long-term problems. What sense can have a concept unveiled in a historical reality completely different from today, than to be kept alive by an ideological culture that uses it in its usual and customary?
It 's the usual story of 900: The Century of the "big scam". The only century in human history during which it was possible to sell products is clearly no value as works of art unknown underlying logic to the jurisdiction of ordinary people.
now playing a game of let's imagine the fantasy that has Mantegna painted the Palazzo Ducale in Mantua in the manner of Picasso and in front of a stunned Duke Gonzaga is justified by saying, "Look at Duke that this is not crap, you do not understand why you are ignorant and reactionary, but in the future everyone will understand that I have created a masterpiece ... .. "
not need much imagination to imagine that our painter would have been in chains in the basement of the building.
Not today. In 900
the artist, as long as progressive, can afford any nonsense. This happened even more discovery in the world of music, art itself most mysterious and left to professionals, and so tends to easily escape the view of ordinary people. Precisely because of this peculiarity has become easily conquered land, since the early decades of the 900, every current of modernism and experimentalism, which need more discovery era quella della critica spietata verso il mondo borghese, i valori e le certezze del passato.
Stravolgere gli elementi cardine del linguaggio musicale significava stravolgere questi valori, e l'esigenza di creare una nuova musica veniva vista come esigenza di creare un nuovo ordine sociale. Ecco allora che a poco a poco scomparivano dalla musica la consonanza in favore della dissonanza, il ritmo in favore del caos, il timbro con il rumore, fino a negare ogni particolare elemento della tradizione, fosse stato anche il più insignificante.
Se tutto ciò poteva trovare fatica ad affermarsi nel periodo fra le due guerre, è stato nel secondo
dopo-guerra (quando chiunque si opponeva a questa modernizzazione di marca chiaramente marxista non had more room to maneuver, as it accused of complicity with past ideologies of criticism or possibility) that every innovative artist he was open to any field provided it was the blatant absurdity of the opposite tradition. They came up with a pure taste for paradox, a piece of 1952 by John Cage titled 4 33 "for piano in which, for 4 minutes and 33 seconds in front of the piano, the pianist is doing absolutely nothing, then gets up and walks away
... ... Then, in order not to miss anything, is done by filling in the piano strings with beads, knives and gadgets of all sorts, or was forced to make sounds of opera singers deformed up to burps and farts ... and so on ...
On the moral sincerity of these choices would seem to have many legitimate concerns, considering that the provocation can elicit some surprise in his first appearance, certainly not after more than 60 years ... If there may still be able to operate these composers choices, this is based on reasons of convenience and connivance still present political ideology of pure inertia with respect to the past, and which are now destined for a slow but inevitable extinction.
Today a growing number of composers are making choices in the direction of a return to the harmony and tradition.
This does not mean a slavish copy of the past (such as criticizing the so-called composers progressisti) poiché ciò che un artista produce è sempre immerso nel presente, filtrato attraverso la sensibilità e l’esperienza della vita vissuta, quindi indiscutibilmente attuale, che lo si voglia o meno!
Roberto Tagliamacco
It 's the usual story of 900: The Century of the "big scam". The only century in human history during which it was possible to sell products is clearly no value as works of art unknown underlying logic to the jurisdiction of ordinary people.
now playing a game of let's imagine the fantasy that has Mantegna painted the Palazzo Ducale in Mantua in the manner of Picasso and in front of a stunned Duke Gonzaga is justified by saying, "Look at Duke that this is not crap, you do not understand why you are ignorant and reactionary, but in the future everyone will understand that I have created a masterpiece ... .. "
not need much imagination to imagine that our painter would have been in chains in the basement of the building.
Not today. In 900
the artist, as long as progressive, can afford any nonsense. This happened even more discovery in the world of music, art itself most mysterious and left to professionals, and so tends to easily escape the view of ordinary people. Precisely because of this peculiarity has become easily conquered land, since the early decades of the 900, every current of modernism and experimentalism, which need more discovery era quella della critica spietata verso il mondo borghese, i valori e le certezze del passato.
Stravolgere gli elementi cardine del linguaggio musicale significava stravolgere questi valori, e l'esigenza di creare una nuova musica veniva vista come esigenza di creare un nuovo ordine sociale. Ecco allora che a poco a poco scomparivano dalla musica la consonanza in favore della dissonanza, il ritmo in favore del caos, il timbro con il rumore, fino a negare ogni particolare elemento della tradizione, fosse stato anche il più insignificante.
Se tutto ciò poteva trovare fatica ad affermarsi nel periodo fra le due guerre, è stato nel secondo
dopo-guerra (quando chiunque si opponeva a questa modernizzazione di marca chiaramente marxista non had more room to maneuver, as it accused of complicity with past ideologies of criticism or possibility) that every innovative artist he was open to any field provided it was the blatant absurdity of the opposite tradition. They came up with a pure taste for paradox, a piece of 1952 by John Cage titled 4 33 "for piano in which, for 4 minutes and 33 seconds in front of the piano, the pianist is doing absolutely nothing, then gets up and walks away
... ... Then, in order not to miss anything, is done by filling in the piano strings with beads, knives and gadgets of all sorts, or was forced to make sounds of opera singers deformed up to burps and farts ... and so on ...
On the moral sincerity of these choices would seem to have many legitimate concerns, considering that the provocation can elicit some surprise in his first appearance, certainly not after more than 60 years ... If there may still be able to operate these composers choices, this is based on reasons of convenience and connivance still present political ideology of pure inertia with respect to the past, and which are now destined for a slow but inevitable extinction.
Today a growing number of composers are making choices in the direction of a return to the harmony and tradition.
This does not mean a slavish copy of the past (such as criticizing the so-called composers progressisti) poiché ciò che un artista produce è sempre immerso nel presente, filtrato attraverso la sensibilità e l’esperienza della vita vissuta, quindi indiscutibilmente attuale, che lo si voglia o meno!
Roberto Tagliamacco
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