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'Neue Musik' and post-Webern serialism. Constructivism serial contenutivi between impulse and formal discipline.

INTRO. Con questo articolo illustriamo le pulsioni che attraversarono l'Europa e l'Italia in seguito al "nuovo metodo seriale" introdotto dalla cosiddetta 'seconda scuola viennese' . In particolare l'origine del termine "Neue Musik" e l'eredità di Darmstadt , le radici delle musica contemporanea "d'avanguardia " e le estreme conseguenze dell'adattamento operated by the iron method Webern. Overall, the second part is devoted to the twelve-tone serial and constructivism of the post-Webern on Metaelectronica Research and paves the way for the deepening of Neue Musik to the basic elements of the contemporary electronic music. In the third part of this research will be addressed in more detail the many different issues relating to the serial method, through the study of systems and theoretical parts of Adorno on popular music and the role of avant-garde music.

Schoenberg came to the twelve-tone method in the early twenties, as already mentioned in the post "pantonal, twelve-tone technique, serialism full. towards a time when the electronic music Expressionist " that innovation is embedded in an active stream that was some time breaking down the tonal system, throwing a first line of separation from popular music and subverting the creative freedom of late Romanticism, then collect instance rationalist age. This method in fact, binds strongly to core paths traced by Gustav Mahler (for me one of the greatest composers of the century 900, with Rachmaninov and Stravinsky), leading to extreme that approach: Expressionist distortion of the traditional language (it should be noted that Mahler, though not sharing fully the method of "12 notes related to one another," has always strongly defended the destiny). E 'distorting its approach of German and European interests us, obviously in relation to serialism and mathematics in the context of artistic creation and musical composition.

"The invention of the method of composition with twelve notes in connection with themselves, better known as" twelve-tone method, "has placed Arnold Schönberg - regarded as its founder - in the position of dean of the musical, a position far from comfortable against troubled by the continuing controversy what has been described as a dangerous' play of language. "[" Perception and Reception of "New Music" in Italy after World War II "]

E 'own' the advancement of language" which, in my opinion, features and should characterize the essence and the underlying reasons of artistic and sign it contains. The limits of the territories of expression, in fact, suffer and must suffer further moves towards innovative and expressive forms, new languages, usually chasing a liberation from predetermined patterns (linguistic, visual, sound, etc.) in the case of integral serialism , instead, to search for patterns and rules determined by the number in the space of musical notation, in the balance between formality , Constructivism and the need contenutivi . In the early years of '900 Schönberg was looking for a balance between the impulse contenutivi "and the need for formal support for the fundamental function of the 'series' from which it originated" the musical material', through a simplification and schematization the tempered system theorized by Bach back in the early eighteenth century, "implosion" of the scale-hierarchical system-in favor of a succession of sounds including the pre-twelve notes that comprise the space of an octave. The method, carried out by the theories of Adorno, applied freely by Berg and carried to extremes by Webern, followed different lines of evolutionary development, is obviously linked to the "crisis" of the tonal system generatasi within the German music of the early twentieth century. The dangerous "play of language" that represented the serial was based on the assumption its constructivist implicit in the twelve-tone method, thereby generating different lines of development through the calculated and refined twelve-tone serial constructivism and the concept "contenutivi 'Berg's conception of creativity and the different arts pantheistic, fount of Nature (the theories is seen di Goethe a proposito) di Webern, in contrasto quindi all'assunto «contenutista» proprio del sinfonismo tedesco tardo-ottocentesco (nella cui opera di Schoenberg e Berg fu sempre, in qualche modo, riconoscibile).

SVILUPPI DODECAFONICI: LA SVOLTA DI DARMSTADT E LA 'NEUE MUSIK' (GENESI FORMALE DELLA MUSICA CONTEMPORANEA/D'AVANGUARDIA). Mentre in Webern il metodo dodecafonico fu un'evoluzione dei mezzi e dei percorsi di ricerca all'interno degli schemi naturali relativi alla creazione e alla creatività artistica già impiegati dallo stesso, il tutto applicato in una pura e brillante strutturazione formale, in Italia invece il metodo dodecafonico entrava nel gusto compositivo per gradi ed attraverso determinate figure, su tutte Luigi Dallapiccola, che intorno agli anni Trenta cominciò ad impiegare le teorie seriali in libertà e conservando i suoi legami con il lirismo tradizionale -modalità prevedibile in un luogo di tradizione formale in tutte le discipline come l'Italia. Infatti Dallapiccola si liberò di qualunque posizione rigida e settaria, facendo sempre un uso personale della dodecafonia: usava infatti non solo gli intervalli dissonanti propri della musica seriale (seconde, settime, none), ma anche intervalli consonanti, cosa che lo differenziò ampiamente dai dodecafonici viennesi. La dodecafonia segnò profondamente e definitivamente quella che si andava definendo come musica contemporanea , born as a reaction to the German and European romantic tradition of the nineteenth century and in 1919 in Germany, it became the first definition of Neue Musik , "New Music" , coined by Bekker in a report on musical trends of the time. At the end of the debate is always open to interpretation, debated the interpretation of the overall music produced in the last two centuries (interpretation of some 'bad in my opinion, because it defines a category so broad as to be non-existent) and avant-garde experimental music, whose category is delineated on complex compositional constructs and experimental compositions from the nineteenth and twentieth secolo, con Mahler, Stravinskij, Rachmaninov come elementi strutturali di questo flusso contemporaneo, e la complessità armonica delle opere tarde di Richard Wagner come origine e radice fondamentale. In quest'ottica l'opera di Mahler traccia una linea di continuità fra il Romanticismo Tedesco e la cosiddetta "Seconda scuola di Vienna" , fondata da Schoenberg e composta dei due principali allievi Berg e Webern e il cui termine fa riferimento ad un'implicita 'prima scuola viennese' : quella formata da Hydn, Mozart e Beethoven. Di questa traccia di continuità contenutistica e formale, è infatti emblematica la posizione di Mahler accennata above compared to the serial method.

The ADVANCED POST-Webern. Radical and highly advanced musical language. The re-definition of "New Music" in relation to constructivism twelve-tone, is due to the cycle of conferences held in 1933 by Webern, but the second half of the original meaning of '900 'Neue Musik' that characterized twelve-tone music, was renewed in an identification much larger: avant-garde experimental music. This expressive face was born in the town of Darmstadt, near Frankfurt, where he had established an information center and teaching on modern music, in an attempt to redefine the theory, composition, and related to music executives who were risking a loss finding because of the Nazi regime and its push against censorship of all those expressions are considered "degenarate" do not belong to the sustained superiority the Germanic tradition.

"In that environment, the initial assumption of information and training was radicalized in contact with the music of Webern, in an address of great progress of the musical language. The effect was to internationalize the" crisis " the musical language that had characterized the German music in the era between the death of Mahler's death Webern. The choice of music by Webern as the archetype of the progress of language is based on one of the many misunderstandings that make fruitful the development of the arts in a pantheistic determinism of Webern and his offer art as a result of the nature , the young musicians in music Webern saw only the outward appearance of a radical departure from tradition. Secondly, in defining postweberniana, the vanguard advanced the postulate of an indefinite prolongation of its nature "progressive", on the assumption that new language in terms of new meanings by subtracting so the music and art in general, the ' commodification ', ie to the fruition of consumerism. "

Adorno's theories contribute strongly to the evolutionary developments of the face expressive of Darmstadt which, under the different drives inside, unfolded in a multitude of experiences as well as theoretical composition and performance: from to Stockhausen Maderna, Luigi Nono Boulez, instances concerning the role and function of the experimental music diverged while maintaining a common will to cross boundaries of expression perennial , expressed by the so-called avant-garde post-Webern who showed the need for progress language in the European music scene, the slave of the tonal system, the massification and the commodification of art. The "New Music" was thus a social and political role (in a sense "ethical" ), as well as artistic, within this landscape, especially in relation to the theory of "death of art " (think of the early theories of Hegel on the failure of a condition linked to the artistic past and now, for example, to new influences, from 1915, Dadaism, which is immediately bearer of nihilistic and destructive enzymes facing the art ).

SERIALIZATION INTEGRAL AND 'ALEA'. THE RATIONALE OF THE SERIES creative reinterpretation THE "random sampling". interpretations and then flowed from the front of Darmstadt were numerous, and with different approaches to the concept of Neue Musik, even under the same experimental determination and progress of language. From a strict and extreme rationalization "integral serialism 'to' 'alea' , a method that takes advantage of the possible combinations of variables and structures of music notation. Having already addressed in its manifestations Webern serialism and post-Webern, we make a little digression on "random sampling" -o alea -, fundamental to deepen the approach of John Cage's composition and performance. L 'alea is that system of composition that the 50 went in the direction of an active and creative collaboration between composer and interpreter, and then passing through vast possibilities of expression and a different approach to music notation. What distinguishes practically the "method" is a "free composition" or "partly free" according to the parameters that limit the performance in accordance with the composer, in the case of restriction to certain parameters and then, for example, between improvisation certain heights, will be defined "controlled randomness". composers that define this method, and found the greatest exponents dell'alea were: John Cage, Karlheinz Stockhausen , Pierre Boulez and, in Italy, is considered the "founder" of aleatory music composer and conductor Bruno Maderna , one of the first to outline the main characters, the Italian Luciano Berio and Luigi Nono (especially with one of his last and most famous works, Fragmente-Stille, an Diotima for string quartet: inspired by fragments of text Nono writes very short pieces (Fragmente-Stille precisely, fragments-seconds) for the four performers, parties often not rigorous or precise, entrusted to the sensitivity of the artists themselves and improvisation "[Wikipedia]). method dell'alea delimited in a way different compositional approaches, flowing in diverse theoretical systems. While Stockhausen has always practiced a kind of flexibility to Constructivist possibility, the structures of their post-Webern serialism disparatissime came to the trials on the language, up to the 'randomness', instead Maderna was particularly sensitive to forms of constructivist research post-Webern, Nono instead represented more the sort of build up, exceeding Constructivism in favor of a formal-aesthetic research on the languages \u200b\u200band the trial, as a point of view, Luciano Berio. "The avant-garde post-Webern, finally took over the 'alea', new sources of noise, namely 'musique concrete' and 'electronic music', which were in the late twentieth century, new sources of production widely used in postweberniana garde sound, but not limited to it. "

NOTE: EXCESS OF LOSS AND SYMBOLISM. MAHLER'S WORK, THE LEGACY 'WAGNERIAN AND CRISIS-late romantic toward a redefinition of the tonal language CLASSIC AND NEW EXPERIMENTAL EXPERIENCES. In this synthetic route of new sound sources and compositional systems that they have crossed the pragmatic and theoretical experience between the end of '800, the beginning of 900, opening the way to new experimental courses in the second half of the twentieth century, music concrete, tape-music, electroacoustic, electronic music and pure electronic music, it was gone by drawing a wide path that unites the disparate currents of expression, the sign of a progressive advancement of expressive language, aesthetic and music specifically. Crossed by a time diverse expressive impulses, decadence, symbolism, the idea of \u200b\u200bliberation from patterns of their romance, an age, in terms of expressive research, continual research and transformations that have advanced progressivamente verso una messa in discussione generale dei linguaggi, dei sistemi produttivi dell'Arte mettendo in moto una crisi generale dei suddetti sistemi: la crisi del linguaggio tonale e il nuovo metodo dodecafonico, il serialismo integrale e la radicalizzazione weberniana, il superamento e la ridefinizione formale e contenutista delle categorie stesse del pensiero musicale della tradizione classico-romantica. Questo paragrafo vuole essere una nota riassuntiva di quanto scritto finora, con la volontà di indicare ed analizzare quell'importantissima fase di collegamento tra l'esperienza tardo-romantica e la 'Neue Musik'/musica contemporanea d'avanguardia . Ritengo che a proposito ci sia una grandissima confusione a riguardo -riscontrabile in many texts on the subject (the only arguments to be considered are those produced in that specific period or immediately thereafter, with particular attention to the work of Adorno theory) -, by showing any changes or fragmentation of systems and methods of expression as separate realities in its own right and not as cash flows, multiple and infinite branching, structural path of languages. What then is to emphasize is the importance of heredity 'late romantic', or rather of those composers who were, quite literally, a "bridge" between the crisis of decadence and symbolism, and the crisis of the tonal system, to achieve a first completion of that process defined "emancipation of dissonance" Mahler and Stravinsky in particular, and in the name of a specific desire of the evolution of artistic language in the context of the political thought of the twentieth century, the influence 's legacy Wagner - all elements of continuity with the experience of Schönberg, the' Second Viennese School ', to the research of ' pure 'and synesthetic of Olivier Messiaen (and, looking in perspective and long range, to the musique concrete, the electro-acoustic and electronic music, to the avant-garde tendencies niche today). Although denied by some historians of modern music is undeniable but the profound changes taking action on the Symbolist tradition, linking the idea and the genius Wagnerian opera contemporary constructivist approach to Webern and, on the opposite aesthetic in general, on arts, including visual ones, through the development expressionists and the abstract expressionist . The proceeds of a new musical language, to new conceptions dissonant paths Mahler or Stravinsky represent the "intermediate stage" , encountered that in a situation really awkward between the Romantic tradition, with the dissolution of formal schemes classic and schemi prestabiliti, in una concezione di rappresentazione come scaturigine dell'inconscio creativo, soffio dell'anima e rappresentazione di una vita interiore, pura intuizione dell'onnipotenza fantastica- e il razionalismo formale estremizzato nella 'serialità integrale' che, nella volontà di superare l'approccio tardoromantico, ne ingloba involontariamente l'essenza stessa del superamento; proprio come il romanticismo incorporò quei flussi evolutivi del protoromanticismo, in un accrescimento dinamico dello 'Sturm und Drang' , dell'opera di Beethoven, Schiller, Goethe, Novalis etc. Nelle modulazioni e nelle succesioni timbriche, in quella complessità cromatica dell'opera wagneriana, si ritrovano le passate accezioni di un uso più "indiscriminato" della dissonanza , attraversando molteplici stadi di penetrazione verso una complessità strutturale che appare come disgregazione del senso armonico della tonalità classica . La musica d'avanguardia seriale, invece, rispecchia una simmetria geometrica, in una contrapposizione -che è allo stesso tempo superamento- dell'instabilità dinamica dello Spirito e della vita interiore. Gli elementi dinamici fluiscono negli schemi, nelle serie, nei moti e nelle modulazioni. La libertà armonica del tardoromanticismo muta in stretta costruzione e pianificazione, in una strutturazione che sfrutta gli interstizi dissonanti della "pantonalità".

"At this tormented humanity, caught between the intoxication of the senses and the infinite anguish, lost in the impossible aspiration to an agreement between the finite self and the cosmic infinity of the divine, suffering from mysterious dizziness, soft and mysticism of disturbing fantasies, the music contributed greatly and gave at least one of the most representative: the unhappy Robert Schumann, who stood up with dignity alongside writers such as Tieck, Wackenroder, Novalis, Schlegel, Hoffmann , Schleiermacher. E 'in these minds that forms the typical romantic conception of music as an expression, even as a language capable of expressing that particular message è la nozione dell'infinito, magica comunione con la natura, mediazione soprannaturale fra sensi e spirito, fra l'individuo e il tutto. Quanto vi è di viziato e corrotto nella generale concezione romantica della vita e dell'arte contribuisce alla formazione di una pericolosa poetica della musica che, se non vieta ai romantici il conseguimento di splendidi risultati artistici, prepara la crisi post-wagneriana della musica europea e spiega la reazione antiromantica tentata dal Novecento"["Percezione e recezione della 'Nuova Musica' in Italia nel secondo dopoguerra"].