{"id":6499,"date":"2012-12-28T00:00:00","date_gmt":"2012-12-27T23:00:00","guid":{"rendered":"https:\/\/www.musikzeitung.ch\/allgemein\/6499\/"},"modified":"2024-08-13T17:42:00","modified_gmt":"2024-08-13T15:42:00","slug":"6499","status":"publish","type":"post","link":"https:\/\/www.musikzeitung.ch\/it\/rezensionen\/buecher-rezensionen\/2012\/12\/6499","title":{"rendered":"Guardare oltre il limite del punteggio"},"content":{"rendered":"<div class=\"text-section\">\n<figure id=\"attachment_56785\" aria-describedby=\"caption-attachment-56785\" style=\"width: 800px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-56785 size-full\" src=\"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2012\/12\/Darmstadt_Internationaler_Kurs_fuer_neue_Musik.jpg\" alt=\"\" width=\"800\" height=\"574\" srcset=\"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2012\/12\/Darmstadt_Internationaler_Kurs_fuer_neue_Musik.jpg 800w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2012\/12\/Darmstadt_Internationaler_Kurs_fuer_neue_Musik-300x215.jpg 300w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2012\/12\/Darmstadt_Internationaler_Kurs_fuer_neue_Musik-768x551.jpg 768w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2012\/12\/Darmstadt_Internationaler_Kurs_fuer_neue_Musik-18x12.jpg 18w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2012\/12\/Darmstadt_Internationaler_Kurs_fuer_neue_Musik-244x175.jpg 244w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2012\/12\/Darmstadt_Internationaler_Kurs_fuer_neue_Musik-488x350.jpg 488w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/><figcaption id=\"caption-attachment-56785\" class=\"wp-caption-text\">12\u00b0 Corso estivo internazionale di nuova musica, Darmstadt, seminario: Karl Heinz Stockhausen, luglio 1957. foto: <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Bundesarchiv_B_145_Bild-F004566-0002,_Darmstadt,_Internationaler_Kurs_f%C3%BCr_neue_Musik.jpg\" target=\"_blank\" rel=\"noopener\">Rolf Unterberg, Ufficio Stampa e Informazione del Governo Federale<\/a><\/figcaption><\/figure>\n<p>Le origini della cosiddetta \"nuova musica\" risalgono ormai a un secolo fa. Da allora non solo la pratica compositiva \u00e8 cambiata enormemente, ma anche il mondo accademico ha sviluppato nuove prospettive. La musicologia \u00e8 passata da uno sviluppo orientato agli obiettivi alla Theodor W. Adorno a un'interpretazione pluralistica del XX secolo che sottolinea la simultaneit\u00e0 del non simultaneo. Il curatore dell'antologia pubblicata da Schott, il professore di musicologia di Stoccarda Andreas Meyer, come Gianmario Borio, descrive la sopravvivenza di stili popolari e primitivi, mentre Arnold Sch\u00f6nberg, Karlheinz Stockhausen e Pierre Boulez affinano sottilmente le loro costruzioni seriali. Sono proprio questi contrasti a rendere difficile il riconoscimento e la definizione della Nuova Musica. Nessuno \u00e8 in grado di riassumere ci\u00f2 che \u00e8 oggi in una formula concisa. L'educazione musicale, di cui si occupa Sointu Scharenberg, si trova di fronte a compiti particolarmente difficili. Il suo saggio <em>Come si inserisce la Nuova Musica nell'educazione musicale tedesca?<\/em> offre una rassegna storica e sorprende la conclusione che la Nuova Musica \u00e8 arrivata nelle lezioni di musica in Germania Ovest al pi\u00f9 tardi nei primi anni Settanta. Ci si chiede perch\u00e9 cos\u00ec tanti studenti di musica (e adulti) conoscano a malapena pi\u00f9 di due compositori dopo il 1950.<\/p>\n<p>Il titolo <em>Cosa rimane? <\/em>non \u00e8 da intendersi solo in relazione alle opere affermate della Nuova Musica. Piuttosto, la domanda \u00e8 rivolta anche a quali scoperte musicologiche del XX secolo sono rimaste. Non ce ne sono molte, si ha l'impressione. Naturalmente - luogo comune dell'ermeneutica - il presente determina sempre la visione della storia. La fissazione accademica per gli spartiti ha a lungo bloccato la musicologia con una malvagia \"volont\u00e0 di sistema\". Oggi i musicologi sono pi\u00f9 rilassati nel guardare oltre lo spartito. Mentre Simone Heilgendorff non rinuncia a guardare direttamente al presente e si interroga sul significato attuale dei termini avanguardia o progresso per i compositori di oggi (ricevendo risposte scettiche), Matthias Tischer esamina nel suo saggio <em>La musica nell'era della guerra fredda<\/em> Non si parla principalmente dell'importanza delle potenze occupanti per lo sviluppo della musica dopo il 1950, ma piuttosto della competizione per la sovranit\u00e0 culturale in Germania dopo la presunta ora zero. Per quanto possa sembrare doloroso per l'\"avanguardia critica\", la Nuova Musica ha potuto fiorire in Germania dopo il 1950 anche grazie al generoso sostegno dell'America a ovest e della Russia a est. La politica, il potere e la musica sono pi\u00f9 strettamente legati di quanto alcuni \"esteti\" possano credere: questo \u00e8 un altro aspetto che si pu\u00f2 trarre da questa divertente e leggibilissima antologia.<\/p>\n<div class=\"text-section\">\n<dl class=\"picture media photo\">\n<dt><img decoding=\"async\" class=\"media photo aligncenter\" src=\"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/01_res_bn_BuchWasBleibt.jpg\" alt=\"Image \" \/><\/dt>\n<\/dl>\n<\/div>\n<p><em>W<\/em><em>cosa rimane? 100 anni di nuova musica, Stuttgarter Musikwissenschaftliche Schriften Vol. 1, a cura di Andreas Meyer, 221 p., brossura, \u20ac 29,95, Schott, Mainz 2011, ISBN 978-3-7957-0754-5 <\/em><\/p>\n<p>&nbsp;<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p><strong>Un'antologia fa luce sulla storia della Nuova Musica, la sua ricerca e il suo ruolo nella pedagogia<\/strong><\/p>","protected":false},"author":1,"featured_media":56785,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","pgc_sgb_lightbox_settings":"","footnotes":""},"categories":[1214,29],"tags":[],"class_list":["post-6499","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-buecher-rezensionen","category-rezensionen"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - 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