Title: Repetition as a principle of mythological thinking and music of the twentieth century
Source document: Musicologica Brunensia. 2017, vol. 52, iss. 2, pp. 157-167
Extent
157-167
-
ISSN1212-0391 (print)2336-436X (online)
Persistent identifier (DOI): https://doi.org/10.5817/MB2017-2-14
Stable URL (handle): https://hdl.handle.net/11222.digilib/137656
Type: Article
Language
License: Not specified license
Notice: These citations are automatically created and might not follow citation rules properly.
Abstract(s)
Art of the 20th century is characterized by the rise of the mythical thought and transformation of the myth into an artistic creativity. In music we can encounter manifestations of conscious and unconscious neo-mythologism in various forms. The methodological foundations of our text are concepts by Claude Lévi-Strauss, Carl Gustav Jung, Gilles Deleuze or Victoria Adamenko. The text focuses on the basic identification of the repetition as a mythological sign and its manifestation in the music of the 20th century (Arnold Schoenberg, George Crumb, minimal music etc.). Constitutive principle of repetition in music is connected with categories such as musical space and time, contrast, difference, musical thought.
References
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[19] ROCHBERG, George. The Concepts of Musical Time and Space. In ROCHBERG, George. The aesthetics of survival: a composer's view of twentieth-century music. Rev. and expanded ed. Ann Arbor: University of Michigan Press, 2004, pp. 68–126.
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[21] TARASTI, Eero. A Theory of musical semiotics. Bloomington: Indiana University Press, 1994.
[2] ADLINGTON, Robert. The Music of Harrison Birtwistle. Cambridge, UK: Cambridge University Press, 2000.
[3] CAMPBELL, Joseph. Creative mythology. Reissue. New York: Arkana, 1991.
[4] CAMPBELL, Joseph. The Hero With a Thousand Faces. 3rd ed. Novato, Calif.: New World Library, 2008.
[5] CAMPBELL, Edward. Boulez, music and philosophy. Cambridge: Cambridge University Press, 2010.
[6] CAMPBELL, Edward. Music after Deleuze. New York: Bloomsbury Academic, 2013.
[7] COPLAND, Aaron. Musical Structure. In A Reader. Selected Writings 1923–1972. Richard Kostelanetz (ed.). New York, London: Routledge, 2004, pp. 8–14.
[8] DELEUZE, Gilles. Difference and repetition. Translated by Paul Patton. New York: Columbia University Press, 1994.
[9] EDINGER, Edward F. Ego & archetype: individuation and the religious function of the psyche. Boston: Shambhala, 1992.
[10] ELIADE, Mircea. Cosmos and History. The Myth of the Eternal Return. New York: Harper & Brothers, 1959.
[11] EVERETT, Yayoi Uno. Reconfiguring myth and narrative in contemporary opera. Indianapolis: Indiana University Press, 2015.
[12] JOHNSON, Timothy A. Minimalism: Aesthetic, Style, or Technique? The Musical Quaterly, 1994, vol. 78, no. 4, pp. 742–773.
[13] JUNG, Carl Gustav. The Archetypes and the Collective Unconscious. Second edition. London: Routledge & Kegan Paul, 1968.
[14] JUNG, Carl Gustav. Concerning Mandala Symbolism. In JUNG, Carl Gustav. The Archetypes and the Collective Unconscious. Second edition. London: Routledge & Kegan Paul, 1968, pp. 355–384.
[15] KOZEL, David. A Musical Analysis of Mythical Thought in the Work of Claude Lévi-Strauss. Musicologica Olomucensia, 2015, vol. 22, pp. 61–78.
[16] KOZEL, David. Mythological Archetype in Music and Principles of its Interpretation. International Review of the Aesthetics and Sociology of Music, 2016, vol. 47, no. 1, pp. 3–15.
[17] LÉVI-STRAUSS, Claude. The Raw and the Cooked, Mythologiques, vol. 1. Chicago: University of Chicago Press, 1983.
[18] MELETINSKY, Eleazar M. The Poetics of Myth. New York: Routledge, 2000.
[19] ROCHBERG, George. The Concepts of Musical Time and Space. In ROCHBERG, George. The aesthetics of survival: a composer's view of twentieth-century music. Rev. and expanded ed. Ann Arbor: University of Michigan Press, 2004, pp. 68–126.
[20] STĘPIEŃ, Wojciech. The Sound of Finnish Angels: Musical Signification in Five Instrumental Compositions by Einojuhani Rautavaara. Hillsdale, NY: Pendragon Press, 2011.
[21] TARASTI, Eero. A Theory of musical semiotics. Bloomington: Indiana University Press, 1994.