Il concetto del tempo nella musica di Anton Webern
DOI:
https://doi.org/10.13130/2465-0137/14094Keywords:
Philosophy of Music, Musical Avant-garde, Concept of Time, Music Aesthetics, Filosofia della musica, Estetica musicale, Avanguardia musicale, Concetto del tempoAbstract
L’articolo prende in esame il concetto del “tempo” nella musica di Anton Webern, autore che ha svolto il ruolo di punto di riferimento fondamentale per le avanguardie della seconda metà del Novecento. Dalla disamina effettuata, corredata da esempi musicali, emergono due aspetti caratteristici della musica di Webern: una concezione del tempo come “durata interiore” fortemente influenzata dalla filosofia di Bergson; un’estetica musicale che si colloca, sempre per quanto concerne l’aspetto temporale, in una posizione equidistante sia dai rigidi schematismi del tempo cristallizzato e meccanizzato della tradizione tonale, sia dalla modalità immediata, “surrealista”, del puro divenire in cui lo hanno inteso le successive avanguardie.
This article examines the concept of "time" in the music of Anton Webern, an author who played the role of a reference point for the avant-gardes of the second half of the Twentieth Century. From the examination carried out here, accompanied by musical examples, two characteristic aspects of Webern's music emerge: a conception of time as "inner duration" strongly influenced by Bergson's philosophy; a musical aesthetic that is placed, again with regard to the temporal aspect, in an equidistant position both from the rigid schematism of the crystallized and mechanized time of the tonal tradition, and from the immediate, “surrealist” modality (as “pure becoming”) in which the successive avant-gardes understood it.
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