Wednesday, January 30, 2019

Aesthetics and the Christian Musician—part 5



Aesthetics and the Christian Musician—part 5
          The music of Claude Debussy was chromatic, fluid and vague.  Debussy’s opera Pelléas et Mélisande in this symbolist style The opera is an expression of Debussy’s philosophy that music should be a free art, truly representative of the fact that it cannot be contained, but exists in time and is born on air.  That freedom meant a relaxation of restrictions such as those that normally governed form, harmonic progressions, and rhythm.  The Development of Western Music, K. Marie Stolba, p.775.  This vagueness was considered impressionistic and thus the connection was made with the vagueness of the visual art of Edouard Manet (1832-1883), Paul Cézanne (1839-1906), Hilaire Germain Edgar Degas (1834-1917), Claude Monet (1840-1926), and Pierre Auguste Renoir (1841-1919).  The works of these painters are studies in the impression light makes on the subjects of these paintings.  Often, light and subject seem to almost merge. The overall impression takes precedence over clarity, thus vagueness reigns. 
          After French impressionism, came several schools of artistic thought that had an effect on music philosophy and composition.  Dadaism was one of those movements that struck out at traditional aesthetic and moral values.  This school of thought, starting around 1916, used chance techniques and was a very irreverent and often irrational artistic absurdity.  Proponents of Dadaism were Tristan Tzara (1896-1963), Jean Arp (1887-1966) and others.
          This movement gave rise to surrealism which was formulated by André Breton (1896-1966) and made famous by Salvador Dali (1904-??).  The philosophy of surrealism came from Breton’s automatism philosophy that what a person thinks, feels or wills is determined by physical changes in that person’s body.  This philosophy purports that although one is fully conscious, actions come from subconscious images over which that person has no control.

Thought for the Day
Chance music and the claims of the gospel mix like oil and water.  You may mix the two, but they do not make a successful efficacious amalgamation.

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