Neoromanticismus (musica)

Neoromanticismus in musica est reditus, variis temporibus saeculis undevicensimo et vicensimo, ad exhibitionem animi motuum cum romanticismo saeculi undevicensimi consociatam. Post circa 1975, vocabulum cum postmodernismo neoconservativo, praecipue in Germania, Austria, et Civitatibus Foederatis, et cum compositoribus Volfgango Rihm et Georgio Rochberg comparatur. Inter compositores nunc actuosos in Civitatibus Foederatis habitantes et neoromanticos late descriptos sunt David Del Tredici et Helena Taaffe Zwilich.^[1]

Definitiones

Notio neoromanticismi ex theoria litteraria saeculo undevicensimo ineunte orta est ad distinguenda posteriora romanticismi genera a prioribus generibus. In musica, primum a Ricardo Wagner anno 1851 adhibita est in "Oper und Drama," commentario polemica, ut nomen obtrectans romanticismi Francici Hectoris Berlioz et Iacomi Meyerbeer ex 1830, quem degenerem veri romanticisicmi formam putavit. Per ironiam, vocabulum a notionum scriptoribus adhibitum est ad significandam musicam ex 1850 compositam, praecipue opera Wagneriana. Praefixum neo agnoscit quod musica alterius dimidii saeculi undevicensimi modo romantico aetate non romantica mansit, a positivismo recta, cum litterae et pictura sese ad realismum et impressionismum mutavissent (Dahlhaus 1979, 98–99). Saeculo vicensimo, compositores sicut Ioannes Adams et Ricardus Danielpour neoromantici describuntur (Boone 1983; Hill, Carlin, et Hubbs 2005:64). Secundum Danielem Albright,

Saeculo vicensimo exeunte, vocabulum Neoromanticismus musicam indicare coepit quae saturationem affectus animi magnopere moventem musicae (exempli gratia) Schumannianae imitabatur, sed annis 1920 humile et modestum emotionalismi genus significabat, in quo immodici expressionistarum gestus in certum affectus stabilis residuum solidum redigebantur.^[2] ^[3]

Ergo, apud Albright, neoromanticismus inter 1920 et 1930 reditus ad romanticismum non fuit, sed contra, temperatio postromanticismi percalefacti.

Nexus interni

Notae

↑ Pasler 2001.
↑ Anglice: "In the late twentieth century, the term Neoromanticism came to suggest a music that imitated the high emotional saturation of the music of (for example) Schumann, but in the 1920s it meant a subdued and modest sort of emotionalism, in which the excessive gestures of the expressionists were boiled down into some solid residue of stable feeling."
↑ Albright 2004:278–280.

Bibliographia

Albright, Daniel. 2004. Modernism and Music: An Anthology of Sources. Sicagi: University of Chicago Press. ISBN 0226012670.
Boone, Charles. 1983. Presents from the Past: Modernism and Post-Modernism in Music. The Threepenny Review 15:29.
Dahlhaus, Carl. 1979. Neo-Romanticism. 19th-Century Music 3(2):97–105.
Heyman, Barbara B. 2001. Barber, Samuel. The New Grove Dictionary of Music and Musicians, Ed. 2a, ed. Stanley Sadie et John Tyrrell. Londinii: Macmillan Publishers; Novi Eboraci: Grove's Dictionaries of Music.
Hill, Brad, Richard Carlin, et Nadine Hubbs. 2005. Classical. In American Popular Music. Novi Eboraci: Infobase Publishing. ISBN 9780816069767.
Hoover, Kathleen, et John Cage. 1959. Virgil Thompson: His Life and Music. Novi Eboraci: Thomas Yoseloff.
Lewis, Zachary M. 2003. "Neo This, Neo That: An Attempt to Trace the Origins of Neo-Romanticism," New Music Box, 1 Septembris.
Pasler, Jann. 2001. Neo-Romantic. The New Grove Dictionary of Music and Musicians, ed. 2a, ed. Stanley Sadie et John Tyrrell. Londinii: Macmillan Publishers.
Simmons, Walter. 2004. Voices in the Wilderness: Six American Neo-Romantic Composers. Lanham Terrae Mariae: Scarecrow Press; Oxoniae: Oxford Publicity Partnership. ISBN 9780810848849, ISBN 9780810857285.
Svatos, Thomas D. 2009. A Clash over Julietta: The Martinů/Nejedlý Political Conflict and Twentieth-Century Czech Critical Culture. Ex Tempore 14(2):1-41.
Thomson, Virgil. 2002. Virgil Thomson: A Reader: Selected Writings, 1924-1984. Ed. Richard Kostelanetz. Novi Eboraci: Routledge. ISBN 0415937957.
Watanabe, Ruth T., et James Perone. 2001. Hanson, Howard. The New Grove Dictionary of Music and Musicians, 2a ed., ed. Stanley Sadie et J ohn Tyrrell. Londinii: Macmillan.

Nexus externi

"Neoromantic Works by American Composers," artofthestates.org (Art of the States)
"Neoromanticism," www.musiccentre.ca (Canadian Music Centre)

[1] Pasler 2001.

[2] Anglice: "In the late twentieth century, the term Neoromanticism came to suggest a music that imitated the high emotional saturation of the music of (for example) Schumann, but in the 1920s it meant a subdued and modest sort of emotionalism, in which the excessive gestures of the expressionists were boiled down into some solid residue of stable feeling."

[3] Albright 2004:278–280.

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