- Tytuł:
-
Emigracja wewnętrzna Giacinto Scelsiego — studium przypadku
Giacinto Scelsi’s internal emigration — the case study - Autorzy:
- Skupin, Renata
- Powiązania:
- https://bibliotekanauki.pl/articles/521910.pdf
- Data publikacji:
- 2014
- Wydawca:
- Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
- Tematy:
-
Giacinto Scelsi
internal emigration
Italian music
twentieth century music - Opis:
- Giacinto Scelsi — actually Count Giacinto Scelsi Francesco Maria d’Ayala Valva — be-longed to this type of artists whose life is inextricably associated with his work. Despite the fact that his countrymen were definitely “alien” to him, he lived and worked the last thirty years of his life in Rome, via di San Teo-doro No. 8, alienated from the Italian musical environment and underestimat-ed as a composer in his homeland. Extremely strict fusion of the life and work of Scelsi allows one to read his artistic decisions materialized in his work and his life choices as a uniform quasi-text. The evolution of his musical language (from the influence of Debussy, the neo-classicism, dode-caphony, machinisme to the highly individual musical poetics inspired by the spiritual and musical cultures of the Orient) closely merged with biographical threads (travels around Europe, real and imaginary internal journeys to the East). Aristocratic origins and privileged social position biased the reception of his work in changing Italian reality (i. a. fascism and communism). The fascination of the Indo-Tibetan tradition of understanding the essence and function of sound led Scelsi to the crystallization of individual musical poetics of Scelsi the composer and at the same time — to the conversion of Scelsi the man to Buddhism, individually conceived and “professed”. The Yoga of Sound practice was treated by composer as a self-therapy and at the same time as his compositional modus operandi, which aimed to explore the third dimension of the sound — its depth in a musi-cal and spiritual sense. Scelsi devoted his personal life to his creativity and “composing” — to the specifically understood transcendence. The role of “the proteus” has initially not been the choice of Scelsi, however, with time and after his life experiences it was deliberately incorporated into his life and creative plan. It can be interpreted as the Scelsian strategy of internal emigration in his own country.
- Źródło:
-
Aspekty Muzyki; 2014, 4; 53-65
2082-6044 - Pojawia się w:
- Aspekty Muzyki
- Dostawca treści:
- Biblioteka Nauki
Artykuł