PATTERNS OF MUSICAL TIME EXPERIENCE BEFORE AND AFTER ROMANTICISM

• Authors: Veres Bálint
• Languages of publication: EN

Abstracts

EN

The article pays homage to the leading authority of the 20th century Hungarian music aesthetics, József Ujfalussy, by connecting his heritage to more recent research on the problems of musical time and notably to the study pursued by Raymond Monelle. Rather than a perennial invariant, Monelle interpreted musical time as a historically changing phenomenon constituting implicitly the basic levels of musical semantics, as they have developed throughout the Baroque, Classical and Romantic eras. The present study focuses on the last of these paradigms, claiming that the Romantic experience of musical time has dominated both the production and the reception of music culture up to this day. The Romantic musical experience is based on a latent ‘framework contract’ between composition and audience, which drives the meanings attached to the experience of musical temporality. This latent agreement warrants a need for conventional compositional forms and simultaneously the insufficiency thereof.

Keywords

EN

MUSICAL EXPERIENCE; ROMANTICISM; MUSICAL GENRE THEORY

• Publisher: Society for Aesthetics in Slovakia ad Institute of Aesthetics and Art Culture
• Journal: ESPES
• Year: 2021
• Volume: 10
• Issue: 1
• Pages: 64 – 77

Contributors

author

Veres Bálint

• Moholy-Nagy University of Art and Design, Budapest 1121 Budapest, Zugligeti út 9-25, Hungary

Identifiers

DOI

https://doi.org/10.5281/zenodo.5885583