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Quartetto 2 illustrates a parallel between the shift to atonalism and the Dionysian experience of looking into the irrational. It seeks to overwhelm the listening parameters and redesign the tonal music geometries through an analysis of language in a structure that is ontologically posterior to the system that instantiates it, i.e., the complex relationships between the signified and the signifier.
Quartetto 2 seeks to reschedule music inside a system of logically inevitable propositions, such as “protocol sentences” in the definition of a grammar where any identity of opposites, any “transformational equivalent,” entails a denial of the “principle of non-contradiction.”
Changing things make possible the continued existence of other things. The reality of a string quartet in today’s technological world is confronted with a present that is no longer recognizable, in which the screams of expressionism fossilized long ago.
The ideas conveyed here would like to challenge this assertion.
C’est très intime. C’est secret.
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