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Philosophical Considerations on Contemporary Music Philosophical Considerations on Contemporary Music Philosophical Considerations on Contemporary Music: Sounding Constellations By Giacomo Fronzi Philosophical Considerations on Contemporary Music: Sounding Constellations By Giacomo Fronzi This book first published 2017 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2017 by Giacomo Fronzi All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-1698-1 ISBN (13): 978-1-4438-1698-4 To My Family TABLE OF CONTENTS Preface by Enrico Fubini ............................................................................ xi Acknowledgements ................................................................................... xv Introduction ................................................................................................. 1 First Movement: History and Technics Chapter One ............................................................................................... 13 Extremes: Contemporary Music and Its ‘Contradictions’ 1. Modern, Post-modern or Contemporary? ........................................ 13 2. From ‘Classical’ Modernity to Second Modernity .......................... 17 3. The Electroacoustic Revolution and Musiques Actuelles ................. 22 4. Extremes .......................................................................................... 26 4.1. Indeterminate versus Determinate Music ................................ 26 4.2. Dematerialisation versus Saturation ........................................ 28 4.3. Seduction versus Rationality ................................................... 29 Chapter Two .............................................................................................. 35 Noise: Emancipation, Chaos, Resistance 1. Premise ............................................................................................ 35 2. Musical Ugliness? ............................................................................ 36 3. Futurist Music .................................................................................. 41 4. Musique Concrète ............................................................................ 45 5. Glitch ............................................................................................... 49 6. Noise, Japanoise and Politico-aesthetic Resistance ......................... 51 6.1. Art, Aesthetics and Politics ..................................................... 51 6.2. Music and Politics ................................................................... 55 6.3. Japanoise ................................................................................. 58 Chapter Three ............................................................................................ 71 Silence: “Chaque atome de silence / Est la chance d’un fruit mûr” 1. Sound-Silence: A Fragile Balance ................................................... 71 2. Poetic Function ................................................................................ 72 3. Cobwebs of Sound Interwoven with Silence ................................... 76 4. Political Function ............................................................................. 78 viii Table of Contents Second Movement: Between Production and Reception Chapter Four .............................................................................................. 91 Technology: Art, Music and Technology in the 20th Century 1. Aesthetics and the Problem of Technics .......................................... 91 2. Art and the Problem of Technics ..................................................... 94 3. Music and the Problem of Technics ................................................. 96 Chapter Five ............................................................................................ 105 Audience: Individuality and Collectivity in Contemporary Music 1. Emancipation and the Crisis of Compositional Individuality ........ 105 2. Decline of Taste and the ‘Economisation’ of Art .......................... 110 3. Listening to Contemporary Music ................................................. 113 Chapter Six .............................................................................................. 125 Listening: Possibilities and Complications of Listening to Music in Contemporaneity 1. Premise .......................................................................................... 125 2. Theodor W. Adorno and His Theory of Listening ......................... 126 3. What is Left of Adorno? ............................................................... 131 4. Listening to Music and New Technologies .................................... 137 5. Ontological and Aesthetic Consequences of the Information-Technology Revolution .................................................................................... 139 Intermezzo Chapter Seven .......................................................................................... 149 Freedom: Thelonious Monk—Music and Civil Rights 1. Beyond the Freedom of Music ....................................................... 149 2. At the Origins of Jazz .................................................................... 150 3. Jazz and Civil Engagement ............................................................ 153 4. “Melodious Thunk” ....................................................................... 155 Third Movement: A Philosophical Reading Chapter Eight ........................................................................................... 169 Disintegration: Electroacoustics, Information Theory and Aesthetics 1. Premise .......................................................................................... 169 2. Music and Information Theory ...................................................... 170 3. Structure and Entropy .................................................................... 177 Philosophical Considerations on Contemporary Music ix Chapter Nine ............................................................................................ 191 New Media: Musical Aesthetics and the Challenges Launched by the New Technological Means 1. Premise .......................................................................................... 191 2. Composing Music and New Technologies .................................... 192 3. Technologisation of the Arts: Aesthetic Considerations. General Reflections ...................................................................... 195 4. Defining the Aesthetic Experience: Many Questions, Few Answers ............................................................................... 200 5. Aesthetic Experience, Music and New Technologies .................... 209 6. (Almost) Concluding Considerations ............................................. 211 Bibliography ............................................................................................ 219 Index ........................................................................................................ 239 PREFACE It has never been easy to find one’s way through the dense thicket of problems posed by 20th century music. Today, by now in the new century, it may be hoped that music and the arts generally can be judged with a greater critical detachment, and hence with greater clarity than in the 20th century, when we were still immersed in that fluid reality. Upon closer inspection, however, in the present time the problems seem not to have been simplified and made clearer by distance, but evermore emerge in their extreme complexity. Venturing into this territory is no easy matter and Giacomo Fronzi, in this sweeping essay, has sought precisely to return, with a critical perspective, to the key problems posed by the musical experience of the 20th century. Twentieth century music, in the vast range and multiplicity of its aspects, raises a series of questions of various kinds, which demand of the critic an unusual ability to keep track of the threads of a discourse that becomes increasingly complex and intricate as it is examined more deeply. Musical experience must be considered from many angles: relations with the culture of its time, above all; production and reception; the relationship with technics and more generally with today’s technology of the means of sound production; the relationship with contemporary society and many other problems, including those of a typically philosophical nature. We may say unhesitatingly that Giacomo Fronzi, in tackling the exacting, risky task of outlining so vast a territory, has emerged victorious. This wide-ranging study, the culmination of many years’ experience working in the field of exploration of 20th century musical thought, is a vast, profound, articulate outline of all the main problems posed by 20th century music, and the author extends his view to the whole aura surrounding musical experience in the broad sense. This book is offered to the reader as a sonata in many movements, each of which is a little like one of the possible approaches to the central theme of his work in its various angles. Although many topics are dealt with in the book, one in particular seems to dominate the
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