On Artistic Freedom And Aesthetic Emancipation In Today’s Musical Composition
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Keywords
Mimesis, melody, prosody, instrumental music, root, harmonic series, cultures, emancipation, freedom, synchronic art, Syntax, language, acceptability, nationalisms.
Abstract
This text starts with the consideration of the origins and evolutions of Music under different lines in East and West. Then it discusses music universality from an anthropological, not a Eurocentric point of view. Universality that could be proved on a double ground: the presence of Music in all world cultures and the acoustic explanation. Later on, the text deals with the claim for the composer’s artistic freedom and aesthetic emancipation in order to choose or create scales and syntaxes, taking into account the listener’s receptivity. Finally, it discusses wheter music is a language or not and ends with a brief comment on nationalisms.
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References
Brelet, Giselle (1949) Le Temps Musical, Essai d’une Esthetique nouvelle de la Musique.Paris, PUF.
Fubini, Enrico (1973) Música y Lenguaje en la Estética contemporánea. Madrid, Alianza.
Levi-Strauss, Claude (1968) Lo crudo y lo cocido. México, Fondo de cultura económica.
Meyer, Leonard (1956) Emotion and Meaning in Music. Chicago, Chicago University Press.
Morris, Charles (2002) Fundamentos de la teoría de los signos. Buenos Aires, Paidós. Originalmente, Foundations of the theory of signs (1938).
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Gustavo Yepes Londoño, Universidad EAFIT
Licenciado en Música de la Universidad del Valle, Master of Arts de Carnegie Mellon University Pittsbrgh, antiguo profesor titular y Decano de la Facultad de Artes de la Universidad de Antioquia. Profesor de la Universidad Eafit de Medellín desde 2001.Attribution 4.0 International (CC BY 4.0)
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