o expressionismo de erwartung diante do problema do fetichismo musical erwartung's expressionism facing the problem of musical fetishism
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ID: 152876
2013
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Abstract
O monodrama Erwartung, de Arnold Schoenberg, foi caracterizado por um lado como síntese do expressionismo e, por outro, como uma composição não definível por meio de categorias formais. Esta convergência entre expressão e negação da forma, apontada por Carl Dahlhaus, é o ponto de partida deste texto, cujo objetivo é sustentar, mais do que uma simples convergência, uma relação determinada entre expressão e negação da forma, ou da convenção. Isto é realizado em três momentos: primeiro, desenvolve-se o conceito adorniano de fetichismo musical; segundo, aborda-se a relação entre a expressão e a convenção à luz do problema do fetichismo musical, o que permite aproximar noções como a negação da convenção, a negação romântica do objetivismo musical em prol da expressão subjetiva e a recusa de materiais fetichizados; em terceiro lugar, aborda-se Erwartung, mostrando como o problema da convenção, do objetivismo e do fetichismo não deixam de aparecer em uma peça que leva às últimas consequências a radicalização da expressão pela negação da convenção.
Arnold Schoenberg's monodrama Erwartung was characterized on one hand, as the epitome of expressionism and, on the other, as a composition not definable by formal categories. This convergence of expression and denial of form, remarked by Carl Dahlhaus, is the starting point of this text, which purpose is to sustain more than a simple convergence, but a well-defined relationship between expression and denial of form and convention. This involves three moments: first, the development of Adorno's concept of musical fetishism; second, the approach to the relationship of expression and convention seen from the perspective of musical fetishism, which enables us to approximate some notions as the denial of convention, the Romantic denial of musical objectivism in favor of subjective expression, and the refusal of fetishized material; and finally, the approach to the Erwartung, showing that the problem of convention, objectivism and fetishism still remains in a piece which leads the radicalization of expression through denial of convention to the ultimate consequences.
Arnold Schoenberg's monodrama Erwartung was characterized on one hand, as the epitome of expressionism and, on the other, as a composition not definable by formal categories. This convergence of expression and denial of form, remarked by Carl Dahlhaus, is the starting point of this text, which purpose is to sustain more than a simple convergence, but a well-defined relationship between expression and denial of form and convention. This involves three moments: first, the development of Adorno's concept of musical fetishism; second, the approach to the relationship of expression and convention seen from the perspective of musical fetishism, which enables us to approximate some notions as the denial of convention, the Romantic denial of musical objectivism in favor of subjective expression, and the refusal of fetishized material; and finally, the approach to the Erwartung, showing that the problem of convention, objectivism and fetishism still remains in a piece which leads the radicalization of expression through denial of convention to the ultimate consequences.
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| Authors | ;Philippe Curimbaba Freitas |
| Journal | Cureus |
| Year | 2013 |
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