La Configurazione del tempo nell'opera di Pierre Boulez
Tra esprit de géométrie ed esprit de finesse
DOI:
https://doi.org/10.13130/2465-0137/13180Keywords:
Boulez, tempo, serialismo, teoria musicale, metafisica dell'arte, Boulez, time, serialism, musical theory, metaphysics of artAbstract
All'inizio della seconda metà del '900, il compositore, direttore d’orchestra e saggista Pierre Boulez diede avvio a una ricerca sul concetto di tempo in musica, i cui risultati devono tuttora essere adeguatamente assimilati. Tra questi, i più importanti gravitano attorno alla scoperta del tempo mobile e del tempo liscio: per loro tramite, l’artista può estendere la manipolazione del materiale tempo svolto in partitura (ad esempio sulle indicazioni dinamiche o sulle misure del battito) oltre il piano della notazione scritta. La ricerca di Boulez ha inoltre inaugurato una diversa e più precisa configurazione del tessuto temporale in musica, nella misura in cui è stata capace di includere nella struttura di un’opera sia le contingenze dell’esecuzione, che l’esperienza vissuta dell’ascoltatore.
In the early 1950s, composer, conductor and essayist Pierre Boulez embarked upon an inquiry into the notion of time in music whose outcomes are yet to be thoroughly assimilated. Some of the most important results lie in the conceptualization of mobile and smooth time, which comes up with new possibilities for the artist to unfold the compositional process beyond the craftship of time signature and dynamics on the sheet alone. His research paved also the way for a different and more accurate framework of time in music itself, as it tried to outline the structure of a musical piece which includes not only the otherwise unruly happenstances of the execution, but the living experience of the listener too.
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