The Origin of the Concept of Style in European Musical Thinking

Oleg Garaz
{"title":"The Origin of the Concept of Style in European Musical Thinking","authors":"Oleg Garaz","doi":"10.24193/subbmusica.2022.spiss2.01","DOIUrl":null,"url":null,"abstract":"\"Essentially, the emergence of the concept of style in European musical thinking is the consequence of the shift produced at the end of the Renaissance. The trend towards the simplification of language and musical expression and the subordination of both to the notional-poetic discourse determines the unimaginable: the hegemony of rhetoric and, implicitly, of style as a rhetorical sub-category having the function of organizing and controlling musical suggestiveness – the taxonomy of musically expressible emotions. It is also during the period of the musical Baroque that the practical insertion of the concept of style begins by cohabiting with the idea of genre in all its three forms: as a specific habitat for the performance of the musical act, as a composition coefficient and equally as a type of ethos. This confusion will persist for the entire period of use of the concept of style, which gradually fades as the insertion of postmodernism gathers momentum. As a tool for functional and semantic dislocation, style also acts in relation to the term canon, the only value reference until the shift from the mathematical-cosmic quadrivium to the discursive-philological trivium (the Del Bene moment, 1586). Apart from taking over the attributions from the concept of genre, style also claims the function of canon as the exclusive value reference. Starting with the Baroque, we already speak of the stylistic canon. The complete absorption of the canonical function by style takes place during the Viennese Classicism, when style becomes a personalizing-biological reference, attached to the musical thinking of a prominent personality (Wilhelm von Lenz, Beethoven et ses trois styles, 1855). Musical Romanticism raises the understanding of style to the level of an almost absolute exclusivity, on a par with the transcendentalism displayed by the genius-musician (the Liszt-Wagner paradigm). The dissipation of Romanticism determines the return to the identification through ethos: verism, expressionism, impressionism-symbolism and naturalism, so that it is only during the first musical modernism (1900-1914) that we witness the return to the purely technical Renaissance acceptance: the atonal style, during the second modernism (1918-1939) – the dodecaphonic style, the serial style, and further, during the third modernism (1946-1968) – the style of stochastic music, the style of aleatoric music, the minimalist style etc. The uselessness of the concept of style as a procedure of identification through differentiation (Boris Asafiev) and obviously as a meta-narrative is already revealed in musical postmodernism, with all the three anti-metanarrative “ideologies” of postmodernism: the ideology of distrust, the ideology of the fragment and the ideology of recovery. Keywords: history of style, stylistic canon, style as a genre, style as a metanarrative, liberation from style \"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"1 1","pages":""},"PeriodicalIF":0.1000,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Studia Universitatis Babes-Bolyai Musica","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.24193/subbmusica.2022.spiss2.01","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
引用次数: 1

Abstract

"Essentially, the emergence of the concept of style in European musical thinking is the consequence of the shift produced at the end of the Renaissance. The trend towards the simplification of language and musical expression and the subordination of both to the notional-poetic discourse determines the unimaginable: the hegemony of rhetoric and, implicitly, of style as a rhetorical sub-category having the function of organizing and controlling musical suggestiveness – the taxonomy of musically expressible emotions. It is also during the period of the musical Baroque that the practical insertion of the concept of style begins by cohabiting with the idea of genre in all its three forms: as a specific habitat for the performance of the musical act, as a composition coefficient and equally as a type of ethos. This confusion will persist for the entire period of use of the concept of style, which gradually fades as the insertion of postmodernism gathers momentum. As a tool for functional and semantic dislocation, style also acts in relation to the term canon, the only value reference until the shift from the mathematical-cosmic quadrivium to the discursive-philological trivium (the Del Bene moment, 1586). Apart from taking over the attributions from the concept of genre, style also claims the function of canon as the exclusive value reference. Starting with the Baroque, we already speak of the stylistic canon. The complete absorption of the canonical function by style takes place during the Viennese Classicism, when style becomes a personalizing-biological reference, attached to the musical thinking of a prominent personality (Wilhelm von Lenz, Beethoven et ses trois styles, 1855). Musical Romanticism raises the understanding of style to the level of an almost absolute exclusivity, on a par with the transcendentalism displayed by the genius-musician (the Liszt-Wagner paradigm). The dissipation of Romanticism determines the return to the identification through ethos: verism, expressionism, impressionism-symbolism and naturalism, so that it is only during the first musical modernism (1900-1914) that we witness the return to the purely technical Renaissance acceptance: the atonal style, during the second modernism (1918-1939) – the dodecaphonic style, the serial style, and further, during the third modernism (1946-1968) – the style of stochastic music, the style of aleatoric music, the minimalist style etc. The uselessness of the concept of style as a procedure of identification through differentiation (Boris Asafiev) and obviously as a meta-narrative is already revealed in musical postmodernism, with all the three anti-metanarrative “ideologies” of postmodernism: the ideology of distrust, the ideology of the fragment and the ideology of recovery. Keywords: history of style, stylistic canon, style as a genre, style as a metanarrative, liberation from style "
查看原文
分享 分享
微信好友 朋友圈 QQ好友 复制链接
本刊更多论文
欧洲音乐思想中风格概念的起源
从本质上讲,欧洲音乐思维中风格概念的出现是文艺复兴末期产生的转变的结果。语言和音乐表达简单化的趋势,以及两者从属于概念诗意话语的趋势,决定了不可想象的:修辞的霸权,以及隐含的风格,作为一种修辞子类,具有组织和控制音乐暗示性的功能——音乐可表达情感的分类。也是在音乐巴洛克时期,风格概念的实际插入开始于与所有三种形式的流派思想共存:作为音乐行为表演的特定栖息地,作为作曲系数,同样作为一种精神气质。这种困惑将持续到风格概念使用的整个时期,随着后现代主义的介入逐渐消退。作为功能和语义错位的工具,风格也与术语“正典”有关,这是唯一的价值参考,直到从数学-宇宙的四分之一转向话语-语言学的三分之一(Del Bene时刻,1586)。风格除了从体裁概念中接过归属之外,还主张经典作为唯一价值参照的功能。从巴洛克开始,我们已经谈到了风格的经典。风格对规范功能的完全吸收发生在维也纳古典主义时期,当时风格成为一种个性化的生物参考,依附于一位杰出人物的音乐思维(威廉·冯·伦茨,贝多芬et ses trois styles, 1855)。音乐浪漫主义将对风格的理解提升到几乎绝对排他性的水平,与天才音乐家(李斯特-瓦格纳范式)所表现的先验主义相提并论。浪漫主义的消散决定了通过气质的认同回归:真实主义、表现主义、印象派-象征主义和自然主义,所以只有在第一次音乐现代主义(1900-1914)期间,我们才看到文艺复兴时期对纯粹技术的接受的回归:无调性风格,在第二次现代主义(1918-1939)期间-十二声部风格,系列风格,进一步,在第三次现代主义(1946-1968)期间-随机音乐风格,任意音乐风格,极简主义风格等。风格概念作为一种通过分化进行认同的过程(Boris Asafiev)和显然作为一种元叙事的无用性,已经在音乐后现代主义中被揭示出来,后现代主义的三种反元叙事的“意识形态”:不信任的意识形态、碎片的意识形态和恢复的意识形态。关键词:文体史,文体经典,文体作为体裁,文体作为元叙事,文体解放
本文章由计算机程序翻译,如有差异,请以英文原文为准。
求助全文
约1分钟内获得全文 去求助
来源期刊
自引率
0.00%
发文量
31
期刊最新文献
Music Quotation in Contemporary Non-Academic Art: Aspects of Genre and Style Transformation Sopranotronics 101. An Analytical Approach With Repertorial Proposal Exploring Learning and Unlearning in Singing Technique (Breath) Sándor Veress’s Threnos in the Light of ‘Tradition’ and ‘Renewal’ “Adieux à Bach”
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
现在去查看 取消
×
提示
确定
0
微信
客服QQ
Book学术公众号 扫码关注我们
反馈
×
意见反馈
请填写您的意见或建议
请填写您的手机或邮箱
已复制链接
已复制链接
快去分享给好友吧!
我知道了
×
扫码分享
扫码分享
Book学术官方微信
Book学术文献互助
Book学术文献互助群
群 号:481959085
Book学术
文献互助 智能选刊 最新文献 互助须知 联系我们:info@booksci.cn
Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。
Copyright © 2023 Book学术 All rights reserved.
ghs 京公网安备 11010802042870号 京ICP备2023020795号-1