Clelanda, Kent (Author)
European Legacy
Volume: 16, no. 7
Issue: 7
Pages: 953-967
Publication date: 2011
Language: English
Edition Details: Part of a special issue, “Bergson and European Modernism Reconsidered”
The twentieth century was a time of dramatic change in the structure, language, and aesthetic purpose of music. Numerous factors came together that led the musical avant-garde toward new artistic paths such as atonality and aleatoricism (use of chance elements) in music, and a shift in the idea of what music should portray away from beauty toward truth, or from idealized to actualized. If the arts are a reflection of the philosophical and aesthetic spirit of the times, then an examination of prominent philosophical and aesthetic regimes of the time should reveal changes that facilitated the aesthetic and artistic innovations of the era. This article will examine the relationship between the philosophical and aesthetic writings of Henri Bergson and the affinities, and in some cases influences, they had on the development of two of the major musical innovations of the twentieth century. Specifically, Arnold Schoenberg's development of atonal compositional technique results partially from Bergson's focus on knowledge as a conveyor of truth, and John Cage's cultivation of aleatoricism as a compositional process arises out of Bergson's critique of nothingness as stated in Creative Evolution.
...MoreArticle Irema, Nazim (2011) Bergson and Politics: Ottoman-Turkish Encounters with Innovation. European Legacy (pp. 873-882).
Similar Citations
Article
Fabio Bellissima;
Maria Silvestrini;
(2017)
The «Mathematical Possibilities» of the Music Concept of Mode from Ptolemy to Messiaen
Article
Khazrai, Babak;
(2009)
Abd al-Qādir Marāghī's Statements Concerning Fretting the String Instruments
Article
Wu, Hong-ya;
(2006)
A study on the scientific skepticism and critical spirit of Chu Tsai-Yu's equal temperament scale
Thesis
Portnow, Allison Kerbe;
(2011)
Einstein, Modernism, and Musical Life in America, 1921--1945
Book
Blackmore, John T.;
Itagaki, Ryoichi;
Tanaka, Setsuko;
(2009)
Ernst Mach's Influence Spreads
Article
Schmidt, Michael J.;
(2014)
Visual Music: Jazz, Synaesthesia and the History of the Senses in the Weimar Republic
Article
Kursell, Julia;
(2013)
Experiments on Tone Color in Music and Acoustics: Helmholtz, Schoenberg, and Klangfarbenmelodie
Article
Liu, Yaya;
(2014)
Research of Zhu Zaiyü’s Twelve-Tone Equal Temperament: Toward a Synthesis of Geometry, Arithmetic, Temperament and Physical acoustics
Article
Barker, Andrew;
(2009)
Ptolemy and the Meta-Helikôn
Article
Irema, Nazim;
(2011)
Bergson and Politics: Ottoman-Turkish Encounters with Innovation
Article
Guan, Xiao-wu;
(2007)
An Interpretation of Temperament Lengths Recorded in Iüshu of Shi Ji
Book
Cho, Gene J. T.;
(2003)
Discovery of Musical Equal Temperament in China and Europe in the Sixteenth Century
Book
Fabio Bellissima;
(2022)
La scala musicale: una storia tra matematica e filosofia
Article
Bayuk, Dimitri;
(2002)
Literature, Music, and Science in Nineteenth Century Russian Culture: Prince Odoyevskiy's Quest for a Natural Enharmonic Scale
Thesis
Tichindeleanu, Ovidiu;
(2008)
The Graphic Sound. An Archeology of Sound, Technology and Knowledge at 1900
Book
Danius, Sara;
(2002)
The Senses of Modernism: Technology, Perception, and Aesthetics
Article
Böhlandt, Marco;
(2008)
“Kontakte” -- Reflexionen naturwissenschaftlich-technischer Innovationsprozesse in der frühen Elektronischen Musik Karlheinz Stockhausens (1952--1960)
Chapter
Fend, Michael;
(2008)
La teoria musicale: la concezione aritmetica di Gioseffo Zarlino e l'estetica della musica di Vincenzo Galilei
Article
Osborne, Thomas;
(2003)
What Is a Problem?
Article
Berchum, Marnix van;
(2014)
Linked Sources: A Network Approach to The Repertory of Sixteenth-Century Polyphony
Be the first to comment!