Futurist Influences Upon Early Twentieth-Century Music

Levi, Erik

doi:10.1515/9783110804225.322

Cited by 5 publications

(2 citation statements)

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“…Scriabin adored chaotic fortissimi in his crashing finali, blending everything from “trumpets of Archangels to vortical dances spinning in disequilibrium, as if a thousand bells had gone wild, a holy last dance that accomplishes all, before the final instant of dematerialization” ( Bowers, 1969 ). In 1912 he had announced that he was composing Icarus , a symphonic picture in which he would depict the flight and fall of the tragic hero of Greek mythology; he planned to incorporate into the orchestra the sound of an aeroplane propeller to create the illusion of fluttering wings ( Bowers, 1969 ; Levi, 2000 ).…”

Section: Integrative Aesthetics: Return To Omni-artmentioning

confidence: 99%

“…Futurism in music remained a potent and central force in Russia for a much longer period of time compared to Western Europe, one of the reasons being that it had attracted a much wider range of composers. Although Scriabin can hardly be deemed a true Futurist, he provided the stimulus for others who followed ( Levi, 2000 ).…”

Section: Integrative Aesthetics: Return To Omni-artmentioning

confidence: 99%

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Neuromusicology or Musiconeurology? “Omni-art” in Alexander Scriabin as a Fount of Ideas

Triarhou

2016

Front. Psychol.

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Science can uncover neural mechanisms by looking at the work of artists. The ingenuity of a titan of classical music, the Russian composer Alexander Scriabin (1872–1915), in combining all the sensory modalities into a polyphony of aesthetical experience, and his creation of a chord based on fourths rather than the conventional thirds are proposed as putative points of departure for insight, in future studies, into the neural processes that underlie the perception of beauty, individually or universally. Scriabin’s “Omni-art” was a new synthesis of music, philosophy and religion, and a new aesthetic language, a unification of music, vision, olfaction, drama, poetry, dance, image, and conceptualization, all governed by logic, in the quest for the integrative action of the human mind toward a “higher reality” of which music is only a component.

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Section: Integrative Aesthetics: Return To Omni-artmentioning

confidence: 99%

Section: Integrative Aesthetics: Return To Omni-artmentioning

confidence: 99%

Neuromusicology or Musiconeurology? “Omni-art” in Alexander Scriabin as a Fount of Ideas

Triarhou

2016

Front. Psychol.

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Strategies of Conquest and Defence: Encounters with the Object in Twentieth-Century Music

Wilson¹

2020

J. R. Music. Assoc.

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Reacting to recent materialist developments in music studies and beyond, I argue for the value of dialectics in accounting for compositional orientations vis-à-vis their objects – be these objects sound-producing, non-human entities, such as musical instruments, or the object that is ‘sound itself ’. Engaging the compositional thought and practice of Busoni, Russolo, Varèse, Cage and Tudor by way of example, I highlight two intersecting tendencies: the first constitutes a presumed mastery over the object in question; the second is suggestive of an exploration of the object on its own terms. Interweaving aspects of post-Marxist and psychoanalytic theory, I argue that, ultimately, our orientation towards the object manifests a negotiation of the self in a changing material world.

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Mimetic Mechanicity: TheIron Foundryand Vernacular Internationalism in the 1930s

MASTERS

2023

Twentieth-Century Music

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In the 1930s, the Iron Foundry, a short orchestral piece by the Soviet composer Aleksandr Mosolov, became hugely popular with audiences across Europe, North America, and beyond. Reassembling the fragmented archives of its performance and reception histories, this article sets out to follow the work on the circuitous routes that ensued. Addressing issues including programmaticism, the reception of Soviet music, and the history of comedy, I show how Mosolov's composition became a lightning rod for larger debates about concert music's relationships with modernity, politics, and mass entertainment. The case of the Iron Foundry, I suggest, illustrates how the pleasures of machine aesthetics – and, more specifically, a stylized idiom of mechanized gesture distinctive to the period – became widely assimilated into what we might call the vernacular internationalism of the interwar middle classes.

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Futurist Influences Upon Early Twentieth-Century Music

Cited by 5 publications

References 0 publications

Neuromusicology or Musiconeurology? “Omni-art” in Alexander Scriabin as a Fount of Ideas

Neuromusicology or Musiconeurology? “Omni-art” in Alexander Scriabin as a Fount of Ideas

Strategies of Conquest and Defence: Encounters with the Object in Twentieth-Century Music

Mimetic Mechanicity: TheIron Foundryand Vernacular Internationalism in the 1930s

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