Developing a method partly inspired by systematic musicology, yet clearly historical, this study offers a possible solution to that problem. Therefore, the present article proposes a kind of historical music psychology. One of them is how to approach the effect of music historically since satisfactory sources about music’s emotional qualities are rare and one needs to be cautious in transferring results of recent music psychology or cognitive musicology back to the 19th century. Yet, this aspect poses many puzzling problems for musicological research. We take music’s expressive power for granted. Toutefois, peu de travaux se sont penchés Résumé L'influence des Saisons russes, avec son charme tout orientaliste, sur la définition du modernisme français et la culture occidentale en général, est largement connue et abordée par plusieurs chercheurs selon différentes perspectives (Schaeffner 1953, Garafola 1989, Davis 2010, Bellow 2013). Despite the critical views of Russian musicians toward French music with oriental subjects, the music nevertheless resonated with Russian compositional practices and some of its devices were used occasionally to depict not only the Orient, but Russia itself. This paper contextualizes French Orientalism within nineteenth-century Russian culture and considers how French musical Orientalism was negotiated in Russian writings from the period. 1 This occurred as a result of the nineteenth-century travels of many Russian literary men, painters, and linguists to Europe (notably to France and Germany) to study with famous Orientalists. As the famous Russian Orientalist Vasily Bartol'd complained, " The Orient's neighbour, Russia, despite its geographical proximity, often preferred reading shoddy Western books on the Orient to a direct study of the Orient " (Bartol'd 1925, p. Less emphasised to date is the fact that Russian Orientalism emerged from European stimuli and, in many respects, its very existence is indebted to French Orientalism. The influence of the Saisons Russes, with its utterly Orientalist appeal in defining French modernism and Western avant-garde culture in general, is widely known and discussed by many researchers from multiple perspectives (Schaeffner 1953, Garafola 1989, Davis 2010, Bellow 2013). The article ultimately argues for a richer understanding of music’s relation with time within both Russian and Austro-German traditions Yet this neat binary opposition created between East and West is seen to be overly simplistic for many pieces that fall outside the small group of high-profile nationalist works from the Kuchka. By interrogating both musically and culturally this idea of temporality, the article suggests a potential distinction between a specifically Western model of time and historical progress - marked by the qualities of onward teleological process and the capacity for organic development, as celebrated in the archetypal Beethovenian symphonic style - and a static, cyclical, repetitive, even timeless conception that may be seen to apply more aptly to several pieces of the nineteenth-century Russian repertory. This article puts forward an alternative way of approaching Russian instrumental music, from the perspective of a different conception of musical and historical time. It has long been a truism of music criticism that nineteenth-century Russian symphonic music lacks a true sense of development when compared with a normative German model.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |