Style of Surrealism

October 1, 2016
Naotoi:

Chapter: CHAPTER 10 The Cult regarding the Commonplace Origin: MUSIC DURING THE EARLY TWENTIETH-CENTURY

From at the mercy of Style: Surrealist “Classicism”

ex. 10-7 Francis Poulenc, Les mamelles de Tirésias, Prologue, 4 to 6

Milhaud’s form of surrealism, unlike Poulenc’s, desired to enter the sound-substance of his music and become by itself a feature of style. For that reason, Milhaud’s success is oftentimes taken more really than Poulenc’s both by historians into the tradition for the New German School, who put the highest premium on technical innovation, and also by neoclassicists just who insist on music “purity.” Empowered by some famous passages in songs of Stravinsky (the C/F♯ fanfares in Petrushka) and Richard Strauss (the necrophiliac kiss in Salome, the ending of In addition sprach Zarathustra), Milhaud ended up being impelled to develop a systematic theory of “polytonality, ” which may be called a technique for generating collages of keys. He offered the theory a comprehensive, also somewhat pedantic exposition in an article, “Polytonalité et atonalité, ” which he published in Los Angeles Revue Musicale, the key French musicological record, in 1923. Putting his concept in apposition—hence in competition—with Schoenberg’s, Milhaud distinguished them by asserting that “between polytonality and atonality you will find similar important differences as between diatonicism and chromaticism.” Polytonality is therefore diatonicism multiplied. Milhaud rationalized it, in time-honored fashion, by tracing it returning to Bach (or in other words, to strict or “real” counterpoints at intervals besides the octave). But the lineage thus claimed just isn't persuading: tonal counterpoint is often ready to make changes (age.g., “tonal answers”) to insure the perceptual ascendancy of just one tonic. On reverse rational intense, the blend of all twelve diatonic tone facilities within one stew, polytonality finds the same maximum (or meets exactly the same restriction) as atonality; to quote Milhaud’s article, it “encroaches from the domain of atonality.” In Milhaud’s actual compositions, but this never ever comes near to occurring, because, unlike Schoenberg, Milhaud ended up being tired of technical maximalism. As an alternative, as some review of Milhaud’s polytonal techniques will unveil, polytonality managed to get possible to construct unheard-of harmonies by juxtaposing easy tunes and chords in unique combinations that obtained their particular piquancy properly from the recognizability of the homely sources. It was another situation of a calculated incongruity that replaced daily reality with an alternative or magical sur-reality because they build fancifully from the real listening connection with genuine viewers. As opposed to polytonality, a term that however offends many theorists just who believe (not unreasonably) that combined chords continue to have solitary roots, Milhaud’s method might much more precisely happen known as “polydiatonicism.” But the term “polytonality” is most likely here to keep, one of the many misnomers that standard practice features adopted and ensconced used beyond hope of modification. We have been coping pretty much successfully with “Gregorian chant” for a thousand many years, generally there isn't any have to whine.

Citation (MLA): Richard Taruskin. "Chapter 10 The Cult of Commonplace." The Oxford History of Western Songs. Oxford University Press. Ny, USA. n.d. Web. 9 Mar. 2016. . Citation (APA): Taruskin, R. (n.d.). Section 10 The Cult of Commonplace. In Oxford University Press, Musical in the Early Twentieth Century. Ny, USA. Retrieved 9 Mar. 2016, from Citation (Chicago): Richard Taruskin. "part 10 The Cult associated with Commonplace." In Songs during the early Twentieth Century, Oxford University Press. (New York, American, n.d.). Retrieved 9 Mar. 2016, from
Source: www.oxfordwesternmusic.com
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