2010 Fiscal Year Final Research Report
The concept of musique informelle : its historical development and its contemporary significance
| Project/Area Number |
19720023
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| Research Category |
Grant-in-Aid for Young Scientists (B)
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| Allocation Type | Single-year Grants |
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| Research Field |
Aesthetics/Art history
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| Research Institution | Ehime University |
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Principal Investigator |
TAKAYASU Keisuke Ehime University, 法文学部, 准教授 (70346659)
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| Project Period (FY) |
2007 – 2010
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| Keywords | アドルノ / 前衛 / 現代音楽 / 美学 / 音楽史 |
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| Research Abstract |
The concept of musique informelle, which Adorno introduced in his lecture in Darmstadt in 1961, suggested ways to develop avant-garde music as art music, and this concept remains an instructive concept for contemporary composition. On the one hand, Adorno's notion of musique informelle maintains the core requirements for art music, i. e., striving for a high level of construction and expression, in order to realize an artwork with fully developed form and content. On the other hand, musique informelle represents the essential motivation of avant-garde music: free music that seeks free construction as well as free expression, not restricted by convention, and not externally controlled. Literally, the form of this music is "informal" in the sense that it does not obey any given schematic form. This informal form is also expected to include an intrinsic truth in its content. This criterion is based on the following model of music production. If the composer does not give the music materials any prepared form, the composer must handle the materials by following their tendencies. Thus, the music's form is found in the very core of its material. The form revealed is, therefore, far beyond the composer's intention, and this form can be expected to include some objective content.
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