Music and other arts


MUSIC AND OTHER ARTS

It will have happened to each of us to ask ourselves: but what is different about music from the other arts? For example, what is the difference between music, painting, sculpture or literature? The first difference that jumps to the eye is that painting, sculpture or literature compared to music are static arts, that is to say the works represented are immobile, defined and univocal objects as opposed to music which is a constant becoming and changing in the time.

If a painting represents a beautiful woman smiling, it will certainly not be possible to think that it represents grazing sheep. Even the music with its rhythms and its sounds, can make us imagine a large mountain meadow with grazing sheep, but it certainly is not able to specify whether it is white or black sheep, or if they are merino sheep. or Sardinian. This clarification is entrusted only to the imagination that everyone has. Let's take an example: suppose we listen to the opera the "Nabucco”By Giuseppe Verdi.

Nabucco Act III - instrumental by Giuseppe Verdi

The music incredibly describes the cry of pain and sadness of an oppressed people. But it certainly does not let us know who these people are and why they feel so much suffering.

Music compared to the other arts we can define it universal: we cannot read a novel written in Russian if we do not know the Russian language, on the contrary, we can hear music written by a Russian composer without problems and still be able to understand what the composer wants to convey to us.

When we read a good poem or a novel, we can find ourselves in the middle of the scene described by the author once we understand what the author wants to tell us. If we listen to music instead, we may not even understand what the author wants to tell us, but we can still be moved by simply hearing beautiful musical notes. Let's think about what we feel when we hear a piece of music entitled: «Symphony n. 40 in G minor K550 »whose title tells us absolutely nothing, but listen to that music, we are still able to be moved regardless of its meaning.

Symphony n. 40 in G minor K550 (Wolfgang Amadeus Mozart)

Furthermore, there is another important aspect that differentiates music from other figurative arts: when a poet, a painter, a sculptor realizes his work there is no need for other people to intervene to make it understood. On the contrary, when a musician writes his work, he then needs that the performers of his music, whoever they are, are able to understand and interpret what he wants to communicate. The musicians, the soloists, the conductor, the singers all play a key role in making people understand when the creator of that music wants us to know. What a great mystery music!


Music and other arts

  • The Lyceum coordinates meetings with philosophers, musicologists, composers to bring students closer to listening and learning about contemporary music. Never as in the 1900s has music developed according to mechanisms and concepts similar to those of the visual arts, terms such as matter, space, objectivity, informal, behavior, can be found and characterized both disciplines.

    The aim of the conferences is to promote students' understanding of compositional concepts by considering how they were conceived within the two codes. Similar compositional aspects are in fact seen within different disciplines to make the discussion richer and more articulated, to facilitate understanding and processing. One purpose of the meetings is to re-direct the student's interests in artistic disciplines from mass culture towards complex and refined aesthetic forms that involve speculative issues and offer, as in music, the highest expressions of thought.

    "The unity of the musical space requires an absolute and unitary perception. In this space there is absolutely no top or bottom, right or left, forward or back ...
    Just as we can recognize a knife, a bottle or a watch in whatever position they are, and we can imagine them in all possible positions, so a musical creator can spontaneously operate with a series of notes, not taking into account their direction and the reflections of the notes. their relations, which remain an invariable quantity. "

    Arnold Schönberg, Compositions with twelve notes, 1941

    CHRONOLOGY
    ITINERARIES OF CONTEMPORARY MUSIC -
    PROJECTS, ACTIVITIES, MUSIC PHILOSOPHY CONFERENCES

    CLASSES / PUPILS IN MUSIC PLACES (OR HIGH SCHOOL AS A MUSIC PLACE)

    June 3, 2019
    ICARUS ENSEMBLE
    AULA MAGNA DEL LICEO - THREE-YEAR PLAN OF ARTS, MIUR
    Giovanni Mareggini, flute
    Mirco Ghirardini, clarinet
    Marco Pedrazzini, piano
    Music by Edgard Varèse, John Cage, Luciano Berio, George Crumb, Paolo Perezzani, David Lang.
    PROJECT: THE POSSIBLE AND THE UNEXPECTED>

    April 2, 2019
    REAL THEATER, Madrid
    Music by Albeniz, Rodrigo, De Falla
    Orquesta Clásica Santa Cecilia, Kynan Johns, conductor Rafael Aguirre, guitar
    (Educational trip to Madrid and Toledo)

    March 14, 2019
    MEETING WITH NURIA SCHOENBERG NINTH
    LUIGI NONO ARCHIVE FOUNDATION, Venice

    23 November 2018
    PIRELLI HANGARBICOCCA, Milan
    27th MILAN MUSIC FESTIVAL
    Music by Massimo Bertoncini, Richard Barret, Daniele Ghisi
    ZAUM_Percussion, Salome Kammer, vocals

    November 22, 2018
    Former Church of San Carpoforo, Milan
    SOUND AND ART
    Music by Sciarrino, Nono, Feldman, Bartok, Kurtág
    Icarus Ensemble

    13 March 2018
    PHILHARMONIE, Berlin
    Music by Stravinsky, Martinu, Sibelius
    Finnish Radio Symphony Orchestra, Hannu Lintu, conductor Sol Gabetta, cello
    (Educational trip to Berlin)

    25/10/2017
    TRAJECTORIES 2017
    XXVII International Review of Modern and Contemporary Music, Parma
    Olivier Messiaen, Quatour pour la fin du temps
    Concert Hall of the House of Music,
    Hae-Sun Kang and the young talents of the Paris Conservatory

    4th October 2017
    BIENNALE MUSICA 2017
    61. International Festival of Contemporary Music
    Teatro alle Tese, Arsenale, at 20:00
    Hanatsu Miroir, Maurilio Cacciatore
    The Vallée des Merveilles
    first Italian performance

    24 MAY 2017
    FARNESE THEATER, Parma
    Concert lesson and ante-general rehearsal of the PROMETEO. TRAGEDY OF LISTENING by Luigi Nono
    Ensemble Prometeo, Filarmonica Arturo Toscanini
    Director, Marco Angius Live Electronics, Alvise Vidolin
    March 15, 2017
    KAMMERMUSIKSAAL, PHILHARMONIE, Berlin
    Music by Beethoven, Mozart, Danzi, Ravel
    Andreas Ottensamer, clarinet and Varian Fry Quartett (Berliner Philarmoniker)
    (Educational trip to Berlin and Dessau)

    March 16, 2016
    GASTEIG, Munich
    Music by Brahms, Liszt, Elgar
    Münchner Philharmoniker, Nikolaj Znaider, conductor Alice Sara Ott, piano.
    (Educational trip to Munich, Murnau am Staffelsee and Kochel am See)

    CAMMINAR SOG (N) ANDO be a European citizen
    Series of six lectures on Spanish music, history and literature, Spanish cinema, architecture in Madrid, visual arts.
    TRAVEL THROUGH EUROPE I ED. - Legislative Assembly of the Emilia-Romagna Region
    Educational trip to Madrid and Toledo
    February-April 2019

    MUSIC AND CITIZENSHIP. WHEN MUSIC BECOMES POLITICAL: FROM ARNOLD SCHOENBERG TO LUIGI NONO
    March 2019

    CARLO MIGLIACCIO - Philosopher of music. He studied Experimental Composition with Niccolò Castiglioni and Luca Lombardi, researcher in Philosophy at the University of Toulouse, professor of History and Philosophy. Since 1993 he has collaborated with the Permanent Seminar of Philosophy of Music, founded by Giovanni Piana, at the University of Milan.
    His publications include those on Stravinskij, Bergson, Ernst Bloch, Debussy, Vladimir Jankélévitch. He edited Introduction to the philosophy of music (Utet, 2009)

    GENEALOGIES OF THE MODERN
    Series of three lectures on the origins of the modern in music, visual arts, cinema
    Period: December 2018-February 2019
    Lectures by Carlo Migliaccio, Carlo Serra, Roberto Chiesi (cinema)

    BETWEEN MONDRIAN AND JAZZ: RHYTHM AS SCANNING, RHYTHM AS GROOVE
    January 2019
    CARLO SERRA - Graduated in philosophy based on Giovanni Piana's report, at the chair of Theoretical Philosophy of the State University of Milan. He is coordinator of the Permanent Seminar of Philosophy of Music at the same University. He studied piano, flute and, for a few years, tablas. He directs the “Spazio Filosofico” website and the editions of the Dodecaedro, with G. Piana, E. Franzini, P. Spinicci. He is director of the "De Musica" online yearbook. He taught Elements of Primitive Music and Musical Aesthetics at the State University of Milan, where he held Philosophy of Music workshops dedicated to the theme of rhythm, the relationship between voice and space, the relationship between rhythm and meter (Number and time), to the natural pattern in music. He taught Elements of Mathematics for Philosophy of Music at the University of Palermo. He teaches Aesthetics and Philosophy of Music at the University of Calabria.

    (Contribution of the Piacenza and Vigevano Foundation)

    MUSIC AND NATURE. THE MODERNITY OF DEBUSSY IN THE CENTENARY OF DEATH
    December 2018
    CARLO MIGLIACCIO - Philosopher of music. He studied Experimental Composition with Niccolò Castiglioni and Luca Lombardi, researcher in Philosophy at the University of Toulouse, professor of History and Philosophy. Since 1993 he has collaborated with the Permanent Seminar of Philosophy of Music, founded by Giovanni Piana, at the University of Milan.
    His publications include those on Stravinskij, Bergson, Ernst Bloch, Debussy, Vladimir Jankélévitch. He edited Introduction to the philosophy of music (Utet, 2009)

    (Contribution of the Piacenza and Vigevano Foundation)

    MEMORY OF THE MODERN
    Series of five conferences on the presence of the Greek world in the avant-gardes of the 20th century
    Period: December 2017-April 2018
    Lectures by Carlo Serra, Carlo Migliaccio, Roberto Chiesi (cinema), Francesco Bernardelli (visual arts), Leonardo Sangiorgi - Studio Azzurro (visual arts)

    THE SUGGESTIONS OF GREECE
    TRADITION AND INNOVATION IN THE MUSIC OF THE TWENTIETH CENTURY
    January 2018
    CARLO MIGLIACCIO

    (Contribution of the Piacenza and Vigevano Foundation)

    RETHINKING THE SUBLIME. OEDIPUS REX BY IGOR STRAVINSKY
    December 2017
    CARLO SERRA

    (Contribution of the Piacenza and Vigevano Foundation)

    PARIS 1913
    One hundred years after the first performance of Le sacre du printemps by Igor Stravinskij (Paris, May 29, 1913)
    Cassinari High School, November-December 2014

    AUGUSTE PERRET AND THE CHAMPS-ELYSÉES THEATER (1911-'13)
    December 2014

    LUCIA VALENTINI - Professor of Architectural Disciplines at the "B. Cassinari" State Art School

    THE ARTISTS OF THE AVANT-GARDE AND THE BALLET (1906-'29)
    December 2014

    TITTI DI STEFANO - Teacher of pictorial disciplines at the "B. Cassinari" State Art School

    THE SPRING FESTIVAL AND THE BEGINNING OF THE MUSICAL TWENTIETH CENTURY
    November 2014

    CARLO MIGLIACCIO

    (Contribution of the Piacenza and Vigevano Foundation)

    SOUND POINTS
    May 2013

    CARLO SERRA

    (Contribution of the Piacenza and Vigevano Foundation)

    MUSICAL TRAVEL NOTES
    May 2013

    CARLO MIGLIACCIO

    An art of becoming and of time, music lends itself to welcoming the theme of travel both as a metaphor for life and as the essence of movement, of openness, of the refusal of stillness. And the musician himself, necessarily, is a traveler both in space and in thought, as is found in myth and history. If music can only be a journey, the journey is also found within the music, in its form, in the folds of its technique and its language. The conference proposes an itinerary through some significant 'places' of the musical journey, as they emerge for example in the poetics of Debussy, in the myth of the Schubertian Wanderer, in pieces of contemporary music related to literature and the figurative arts, with particular regard to opera and the aesthetics of Paul Klee: the aim is to shed light on the practice and on musical composing itself, compared to a path, with a departure, a wanderings, stops, returns, an end, in whose dynamics it can only take forms that particular, mysterious and wonderful object, which is called a piece of music (Migliaccio).

    (Contribution of the Piacenza and Vigevano Foundation)

    ORGANICITY OF THE SOUND SPACE
    May 2011

    ROBERTO FAVARO - Graduated in Philosophy at the University of Padua, specializing in musicology at the Humboldt Universität in Berlin, he studied Electronic Music at the Padua Conservatory. He teaches at the Brera Academy of Fine Arts in Milan where he holds the chair of History of Entertainment and Music, also holding the role of deputy director. In addition to the history of music, he deals in particular with the relationships between music and different artistic languages ​​and with communication. Since 1987 he has been editor-in-chief of the musical studies magazine Musica / Realtà.
    Music and architecture, space and sound, condense many opportunities for developing the theme proposed by this cycle of meetings. In fact, a structural organicity defines the very identity of the sound space, which induces us to expand our visual and auditory attention. Or rather, it disposes our eye to listen and our ear to look. Sound space is in fact the natural or architectural environment that resonates with spontaneous reverberations. But it is also an environment deliberately designed and built for the diffusion of sound and music. Sound space is also the sense of petrified musicality, implicit in the shapes, lines, planes, rhythms, harmonic proportions of a visual, architectural, plastic object. Sound space is the voice of the materials, of the artifacts, their possible execution. But sonorous space is also a composition that becomes space, which defines imaginary environments, which stimulates us to see forms and structures articulated over time, like buildings that are built in the air, resonating around and within us. Finally, the sound space is, organically, the secret, trapped musical potentiality of anything in the world (Favaro).

    (Contribution of the Piacenza and Vigevano Foundation)

    THE ADVENTURES OF THE FORM. SOUND AND NATURE BETWEEN GOETHE, MAHLER AND SCHOPENHAUER
    May 2011

    CARLO SERRA

    (Contribution of the Piacenza and Vigevano Foundation)

    MELOTTI AND MUSIC
    May 2011

    CARLO MIGLIACCIO

    In Fausto Melotti's art, music is almost constantly present both in his personal interests and as a source of creativity and reflection. Not only are the titles of many of his works explicitly musical, but also his aesthetics, his methodological attitude, his peculiar artistic mindset are fundamentally connected to typically musicological issues. The themes of formal articulation, compositional organicity, abstraction and materiality are the main reasons for contact between music and sculpture. The conference aims to focus on the relations existing between two apparently distant arts, which instead are wonderfully balanced in the production of one of the most original artists of the contemporary Italian scene (Migliaccio).

    (Contribution of the Piacenza and Vigevano Foundation)

    MECHANICITY AND ORGANICITY IN MUSIC
    April 2011

    CARLO MIGLIACCIO

    The meeting aims to address the issue of organicity by comparing it with the apparently opposite one of mechanism, repetition and static. In music, everything that is movement, dynamism and vitality emerges in a dialectical way starting from what is opposed to it and which often coexists even within the same composition. Both in the language and in the musical technique and in the imitative and descriptive nature of the music, this intertwining of themes is recognizable, which allows us to redefine concepts such as form, structure, matter, creation. Some significant examples will adequately clarify the terms of the problem, while the comparison with the figurative arts and with aesthetic reflection will bring elements of greater theoretical solicitation (Migliaccio).

    (Contribution of the Piacenza and Vigevano Foundation)

    CYCLE OF CONFERENCES: PRINCIPLE OF RATIONALITY AND EDUCATION IN THE ARTS

    BETWEEN COSMOS AND SOUND MASS. THE ADVENTURE OF IANNIS XENAKIS
    April 2010

    CARLO SERRA

    This is nothing new: a large part of the avant-garde of the twentieth century was born under the banner of a rewriting of the ancient: it is not a question of resuming classical aesthetic categories, and of constructing a paradigm conforming to already defined canons, but of recreating the conditions for a classicism, invent new parameters, which restore order to a world devastated by two world wars. Iannis Xenakis perceives this theme with increasing intensity, going to discover one of the most ancient and underground categories of our aesthetic tradition, the notion of the Sublime, and reconstructing with it an approach to those material components of sound, which are among the protagonists of the organological adventure of the last century: reconquering a cosmos starting from the sound mass, or rediscovering the importance of matter in the play of forms, seems to be the lifeblood of a research that runs between music, architecture and the re-foundation of the myth (Serra).

    (Contribution of the Piacenza and Vigevano Foundation)

    SOUND AND HORROR: THE ESCAPE FROM THE CONTINUOUS IN GREEK MUSIC
    April 2010

    CARLO SERRA

    How can horror seduce us? This question, which is pursued in ancient philosophical reflection up to the great systematic proposals of Plato and Aristotle, constitutes an underground lifeblood of the entire speculative adventure of Greek musical theory. In fact, every figure of horror, from Medusa to the Sirens, in the fraying of the interpretations that constitutes them, is characterized by acoustic phenomena, which have a recognizable quality, and which is founded in the bubbling of material, continuous, glissant and whispered sounds, accompanying occurrences. Sounds, at the same time deadly and seductive, like those of the Sphinx and glissanti, like those of the aulos, which seduce, distract, deceive, become objects (Serra).

    (Contribution of the Piacenza and Vigevano Foundation)

    THE TEXT-MUSIC RELATIONSHIP
    December 2009

    CARLO MIGLIACCIO

    Music, it is often said, is the art that most excites, that arouses feelings, that moves, etc. But music is also form, structure, mathematics. How do these two apparently opposite aspects of the art of sounds reconcile? Isn't it also possible to get excited by the pure form, or to be emotionally “touched” by the music, even without feeling any particular feeling? And also: don't our emotions also have a shape, a structure, a movement that resembles that of music? With examples taken from both the classics and contemporaries, we will try to understand how that strange, but frequent phenomenon of being excited, and maybe even crying, when listening to simple innocent sounds can happen.
    Music is an autonomous art yet, from the very beginning, it has always been associated with the word, it has "accompanied" the spoken text, it has given sound to poetry and theatrical drama. And even when it claimed its independence from content, as in the art of the twentieth century, it continued to "duet" with the word, enhancing its musicality and making its intrinsic emotional and communicative potential emerge. By listening to some significant songs - Lieder and chansons -, we will try to discover the meaning of this intimate and profound relationship between music and text (Migliaccio).

    (Contribution of the Piacenza and Vigevano Foundation)

    SHAPE AND EMOTION IN MUSIC
    November 2009

    CARLO MIGLIACCIO

    Music, it is often said, is the art that most excites, that arouses feelings, that moves, etc. But music is also form, structure, mathematics. How do these two apparently opposite aspects of the art of sounds reconcile? Isn't it also possible to get excited by the pure form, or to be emotionally “touched” by the music, even without feeling any particular feeling? And also: don't our emotions also have a shape, a structure, a movement that resembles that of music? With examples taken from both the classics and contemporaries, we will try to understand how that strange, but frequent phenomenon of being moved, and maybe even crying, can happen while listening to simple innocent sounds (Migliaccio).

    (Contribution of the Piacenza and Vigevano Foundation)

    MUSIC IN CONTEMPORARY ARTS
    April 2009

    PAOLO MARZOCCHI - Graduated in Piano, Composition and Electronic Music at the "G. Rossini" Music Conservatory of Pesaro. Over the last fifteen years he has written and performed music for contexts ranging from theater, cinema, radio, to experimentation with other languages ​​and "pure" composition, receiving various commissions for the creation of piano and orchestral works. The clients include the XXX edition of the "Città di Senigallia" International Piano Competition, the Teatro dell'Opera di Roma, the Arena di Verona Foundation, the Musicamorfosi association of Milan, the Pesaro Concerts Organization, the Grosseto Symphony Orchestra. , the “Terra di Teatri” Festival of Macerata, and recently the Friends of Music of Ancona, the Marchigiana Philharmonic orchestra, the “Benedetto Marcello” orchestra of Teramo and that of the Musical Afternoons of Milan.
    He is a professor of Sound design and Music for the media at the Academies of Fine Arts of Urbino and Macerata and the University of Macerata.

    Believing to develop the methods of welcoming the Prime classes by placing them in direct contact with the contemporary artistic reality and with some of its leading exponents, the Liceo proposes a meeting dedicated to one of the fundamental aspects of contemporary arts, that of the relationship between the different expressive languages .
    The meeting reflects one of the prerogatives of the "Cassinari" high school, that of its specific interest in the multidisciplinarity between languages, in particular towards music and cinema. This prerogative will inform the entire course of study of the students and the meeting with the composer Paolo Marzocchi is intended to be an opportunity for the Lyceum to present its own physiognomy to students, already in the first classes.
    During the meeting, Paolo Marzocchi will present a path on sound, starting from the sound phenomenon (its spectrum, our voice, the soundscapes), turning his gaze to the musical object (the melody and its possible readings, the counterpoint) by speaking subsequently of his own production in collaboration with video artists, with reference - among others - to the work made for the Venice Biennale (2005) and to the winner of the 2007 Milan FilmFestival.

    (Reception project for the first classes, promoted by the Province of Piacenza)

    LISTENING TO THE NOVEL. REFLECTIONS ON THE MUSIC AND LITERATURE RELATIONSHIP
    April 2008

    ROBERTO FAVARO

    The relationship between music and literature is investigated starting from a specific and particular terrain: the novel. During the conference, he will introduce himself to the idea of ​​listening to the novel through examples of how the acoustic, sound and musical matrix crosses the writing and narrative content, bringing added value to the expressive, informative and emotional capacity of the literary work. Following the different sound threads, it will be shown how, through a sophisticated orchestration work, the writer elaborates a sort of soundtrack that accompanies the stories told.

    (Contribution of the Piacenza and Vigevano Foundation)

    THE SHAPE OF SOUND. THE SOUND OF FORM
    REFLECTIONS ON THE RELATIONSHIP MUSIC AND ARCHITECTURE
    April 2008

    ROBERTO FAVARO

    The relationship between music and structure is at the center of the conference which will orient its investigation towards the relationships between music and architecture in its various options and manifestations. During the conference we will try to focus on the points of contact between music and architecture starting from the continuous refractions of language and linguistic behavior, to then investigate more deeply the relationships between music and space in the specific dimensions of the house, the city, the factory, of the territory.

    (Contribution of the Piacenza and Vigevano Foundation)

    THE RHYTHM AND THE NARRATIVE STRUCTURES
    November 2007

    CARLO SERRA

    The concept of rhythm must be thought of as a constraint, a powerful constraint, which tries to stem the flow of time: fleeting formation, less recognizable than the concept of form, because it is linked to a fluidity that binds the character of the thing to its occurrence over time, better still to the narrative organization of a structure, rhythm is a complex and dangerously broad concept and we can ask ourselves what it means to recognize a rhythm: rhythm holds together a narrative, whether it is an entire life, or the perspective that guides the shot of an image, or, again, one that keeps musical durations in tension (Serra).

    (Contribution of the Piacenza and Vigevano Foundation)

    REASON AND EXPRESSION IN MUSIC
    November 2007

    CARLO MIGLIACCIO

    The conference aims to identify the meaning of a logic and a rationality in music, both by analyzing examples taken from musical classicism and by exploring some examples of philosophical and musicological reflection. We will focus on some types of music built on canons of a rational order, such as symmetries and repetitions. We will then try to tackle the theme of construction in relation to expression, and finally a comparison will be made with the analogous problem existing within the visual arts, in particular in Klee and Kandinskij (Migliaccio).

    (Account of the Piacenza and Vigevano Foundation)

    CYCLE OF CONFERENCES: ITINERARIES OF CONTEMPORARY MUSIC

    ART: CASE OR NEED? ART AND MUSIC AT THE CROSSROAD BETWEEN MODERN RATIONALITY AND POSTMODERN RELATIVISM
    March 2006

    CARLO ALESSANDRO LANDINI - Composer. Lecturer at the “G. Nicolini ”of Piacenza. He has held seminars at Columbia University and in several American universities. He is a regular guest invited by the “Ferienkurse für Neue Musik” of Darmstadt. Among the notable performances of his compositions that of the Symphony in A for large orchestra (Paris), the Third Sonata by M. Damerini, the Quartet Changes by the Arditti String Quartet. He also dedicates himself to musicological research and non-fiction, collaborating with specialized newspapers and magazines.

    The opposition between the rationalist myth and the risk is being examined. Post-war reconstruction. Modernism and, antagonistic to the latter, postmodern relativism.
    The names are - among others - those of Piet Mondrian, Anton Webern, John Cage, Mark Rothko, Morton Feldman, Francesco Clemente.

    The flutist Lorenzo Missaglia performs, during the conference, a composition by Carlo A. Landini in the first Italian performance.

    ELOQUENT SILENCES. THE SOUND LANDSCAPE OF JOHN CAGE
    March 2006

    ROBERTO FAVARO

    The conference introduces the figure, the work and the compositional thought of John Cage, one of the most problematic and fascinating personalities of the music of the twentieth century and pays particular attention to some of the most important themes of the Cagean aesthetic, such as the idea of time and space, the concept of silence, the principle of randomness and indeterminacy, the sound-noise relationship, relations with the visual arts and dance.

    MUSIC AND SHOAH
    January 2006

    MEETING ON THE OCCASION OF THE DAY OF MEMORY
    (in memory of the extermination and persecutions of the Jewish people and of the Italian military and political deportees in the Nazi camps)
    CARLO MIGLIACCIO

    Many musicians have dedicated compositions to the tragic events of contemporary history which, beyond pure celebration, stand as a testimony of collective pain and an existential laceration: A survivor of Warsaw by Arnold Schönberg, Quatuor pour la fin du temps by Olivier Messiaen , Canto suspended by Luigi Nono, are three examples of how music can process suffering, make it almost perceptible and transfigure it into its peculiar language (Migliaccio).

    THE SERIOUSNESS AND IRONY OF MUSIC
    STRAVINSKIJ AND SATIE BETWEEN NEOCLASSICISM AND DADAISM
    December 2005

    CARLO MIGLIACCIO

    The meeting is an opportunity to understand how concepts proper to the visual arts, in this case neoclassicism and Dadaism, are simultaneously developed, with similar consequences, also in modern music.
    The sense of classicism in the two composers.
    The comparison between the music of Pulcinella and Parade, ballets for which Picasso created costumes and sets.
    The Parisian culture of the early 1900s and the role of Satie as a key figure of the Dadaist conception that will have future developments throughout the twentieth century. References to Picasso, Henri Rousseau, Puvis de Chavannes, Duchamp, Man Ray, Brancusi.

    THE "CULTURED" MUSIC OF THE 1900s AND ITS RELATIONSHIP WITH OTHER ARTS
    May 2005

    CARLO ALESSANDRO LANDINI

    Intertwining, analogies, orientations that developed between the different expressive codes along the 1900s. Differentiated concepts and procedures are presented through the creative experience and critical attitude of a composer. Among the topics addressed: rationality in art and anti-art. Visual poetry. Music made by painters, musicians and the visual arts. Art, music and new technologies - Edgar Varèse (live listen to Density 21.5 *), Bruno Munari, Victor Vasarely, Enzo Mari. Minimalism - Sol LeWitt, Mark Rothko, Steve Reich, Morton Feldman. The perception of time - Joyce, Proust - and of space.

    * Execution of the pupil of the "G. Nicolini" Conservatory of Piacenza, Eleonora Bonizzoni,
    student of Maestro Lorenzo Missaglia

    THE CONCEPTION OF SPATIALITY IN THE "CULTURED" MUSIC OF THE 1900s.

    SOME LINKS BETWEEN SOUND, ARCHITECTURE, LITERATURE AND VISUAL ARTS
    April 2005

    ROBERTO FAVARO

    The conception of spatiality faced mainly on a terrain that finds a direct analogy with the developments of the visual arts. The music of space - the entire sound world, belonging to the "external" space and the environment (noises, natural sounds, etc.), became part of the musical composition references to literature in the twentieth century (D'Annunzio) , al Futurismo (Russolo), alla musica concreta (Schaeffer, Nono), a Cage, alle geografie della musica. Altre prospettive affrontate dal relatore sono state quelle dello “spazio della musica” (l’ascolto della musica da una molteplicità di direzioni), la musica che guarda all’ambiente imitandone i suoni, lo spazio per la musica (le architetture dedicate alla musica). Riferimenti a Biagio Marini, Andrea e Giovanni Gabrieli, Morton Feldman, Charles Ives, Antonio Vivaldi, Arthur Honegger, Aleksander Mosolov, Dino Buzzati. Edgar Varèse, Iannis Xenakis, Le Corbusier, Emilio Vedova, Renzo Piano.

    LA NASCITA DELLA MUSICA MODERNA

    CRISI DEI LINGUAGGI ARTISTICI E MUTAMENTI FILOSOFICI NEL PRIMO NOVECENTO
    aprile 2005

    CARLO MIGLIACCIO

    La nascita della musica moderna con Schönberg, Debussy e Stravinskij. Le poetica dei tre autori rispetto al sistema tonale. Erwartung di Schönberg, Voiles di Debussy, L’Histoire du soldat di Stravinskij: relazioni e analogie di carattere compositivo tra musica e pittura con l’espressionismo di Munch, il post-impressionismo di Seurat, Hokusai, il cubismo di Picasso. Esempi di grammatica della musica nel considerare il passaggio dal sistema tonale alla dodecafonia, alle scale esatoniche, alla politonalità.
    Riferimenti al pensiero di Ernst Bloch, Bergson, Adorno, Jankélévitch.

    Conferenze a cura di: Prof. Antonio Romano

    Docente di Discipline Pittoriche


    Ristoro immediato per le arti, la musica, la cultura e lo spettacolo dal vivo

    A seguito delle ultimissime disposizioni (DPCM del 24 ottobre) insieme ai colleghi del mondo dello spettacolo dal vivo, del teatro, delle etichette indipendenti, federazioni jazz, coordinamenti, scuole d’arte e molti altro stiamo diffondendo un appello appena inviato al Presidente del Consiglio Conte, ai ministri del Mibact e MEF e rappresentanti del Governo e Parlamento per chiedere un immediato contributo (ristoro) diretto e a fondo perduto per gli organismi di tutta la filiera culturale, oltre che sostegni per i lavoratori dell’intero comparto. Segue l’appello completo

    Al Presidente del Consiglio dei Ministri Giuseppe Conte
    Al Ministro per i beni e le attività culturali e per il turismo Dario Franceschini
    Al Ministro dell’economia Roberto Gualtier
    i

    Egregio Presidente,
    Egregi Ministri,

    la decisione presa oggi nel DPCM che determina la sospensione degli spettacoli in teatri, cinema e sale da concerto, nonché la fortissima limitazione dei circoli culturali, colpisce il comparto italiano che più di ogni altro ha adottato correttamente e rispettosamente le misure prescritte dai protocolli sanitari.
    Ultimi studi dimostrano che i teatri, i concerti, i cinema, sono tra i luoghi più sicuri del Paese, ed in virtù di questo, ci sfugge la ratio con la quale si sospendono tali attività al contrario di altre che per propria natura non possono garantire i livelli di sicurezza raggiunti nei nostri luoghi.

    Questa misura assunta nei confronti della Cultura e Spettacolo dal Vivo produrrà effetti economici disastrosi per un settore già fortemente provato, e soprattutto provocherà un effetto sociale devastante privando i cittadini di uno strumento di condivisione e riavvicinamento umano, seppur nel rispetto del distanziamento fisico.

    Alla luce di tutto questo e per evitare la chiusura definitiva di migliaia di imprese e realtà culturali, chiediamo un immediato ristoro diretto e a fondo perduto per gli organismi di tutta la filiera culturale ed un sostegno ai lavoratori dell’intero comparto: artisti e imprese del settore musicale, teatrale e coreutico, operatori e tecnici dello spettacolo, associazioni, centri e circoli culturali, bande, cori e scuole d’arte.

    Nella certezza di poter contare sul Vs impegno vi auguriamo buon lavoro, l’Italia ne ha bisogno!

    Sottoscrivono:

    Forum Nazionale dell’Educazione Musicale

    Federazione Jazz Italiano

    CO. R. S. A. – Coordinamento Romano Scuole d’Arte

    FAS – Forum Arte e Spettacolo

    con: AudioCoop – Etichette Discografiche Indipendenti, AIA – Artisti Italiani Associati, Artisti, Musicisti, Interpreti ed Esecutori, Rete dei Festival – Festival e Contest , It – Folk Artisti e Festival Folk, Anat e Asmea Promoter, Premio dei Premi Canzone d’Autore , Esibirsi – Lavoratori dello Spettacolo / Confcooperative, Fismed – Confesercenti, A – Dj – Disc Jockey, ATCL Lazio Circuito Live Teatri, Goodfellas Distribuzione Dischi e Libri, Discoteca Laziale – Circuito Negozi di Dischi,Cafim – Strumenti Musicali, Fiere del Disco Music Day Roma e altre citta’, Discodays Napoli, Appello degli Artisti della Musica Popolare, Musica d’Asporto a Torino, il mensile di Musica Jazz, Materiali Sonori e Lo Zoo di Berlino – Produzione e Distribuzione /Legacoop, Classic Rock on Air circuito radiofonico e circuito media OASport e OAPlus , LAziosound – Musica e Giovani, Maninalto! Circuito Ska, Rock Targato Italia – Circuito per Emergenti, MArtelive – Circuito della Musica e Arte Contemporanea, Musplan – Piattaforma di scouting per nuovi artisti , Assembramento Artistico di Bologna di Artisti e Tecnici, Dietro le Quinte – Tecnici Impianti Audio e Luci e Video di Bologna, Ridens – Attori e Artisti Comici Settore Teatro, Web e Tv – , AMG Disk, Arci Ponti di Memoria Milano, FederArte Rom, Slow Music, Borghi Artistici , RadUni – Circuito Web Radio Universitarie, Fiofa –
    Circuito D’Autore, Osservatorio Giovani di Napoli, Calabria Sona, Emes Agency, Associazione CulturArti FVG, Fly Web Radio, Sos Animazione Piemonte, Fondazione Lelio Luttazzi, ACEF Bologna, Musicisti 2020 di Napoli, MIE – Musicisti Italiani Emergenti, Suoni a Sud, Italy Sona, Cisac Sals, Tavolo Permanente delle Bande Musicali, SILS, Assoartisti Nazionale, Fasol Coop, Live Music Advisor, iLiveMusic, Unione OBIS (Unione orchestre ballo italiano e spettacolo), Acoustic Guitar Village, Disma Musica, Festa della Musica AIPFM e MEI – Meeting delle Etichette Indipendenti


    Perché il cinema è la “settima arte”?

    The Arti, prima dell’avvento del cinema, erano sei. Queste erano molto più antiche e le loro origini si perdono nella notte della storia. Dopo l’avvento della cinematografia venne istituita “la settima arte”, nome scelto semplicemente perché fu l’ultima ad essere inventata tra le forme artistiche e di spettacolo.

    La sua prima apparizione risale al 1895, quando i francesi fratelli Lumière proiettarono al Grand Café des Capucines di Parigi dieci film, ciascuno della durata di circa un minuto: L’uscita dalle officine Lumière (La Sortie de l’usine Lumière à Lyon), Il volteggio (La voltige), La pesca dei pesci rossi (La Pêche aux poissons rouges), L’arrivo dei fotografi al congresso di Lione (L’arrivée des congressistes à Neville-sur-Saone), I maniscalchi (Les Forgerons), L’innaffiatore innaffiato (L’arroseur arrosè), La colazione del bimbo (Le Repas de bèbè), Il salto alla coperta (Le saut à la couverture), La Piazza di Cordeliers a Lione (La Place des Cordeliers à Lyon) ed il Bagno in mare (Baignade en mer). La cinematografia (nota con l’abbreviazione di cinema) è una delle forme d’arte moderna, nonché uno dei più grandi fenomeni sociali, mediatici e culturali di fine XIX secolo.


    La conoscenza delle idee

    Il fine dell’arte

    Ma parliamo meglio di questa faccenda delle idee, che quando si studia Schopenhauer a scuola viene spesso trascurata, perché non necessaria per comprendere il sistema complessivo del filosofo tedesco e legata quasi esclusivamente alle vie di liberazione. Schopenhauer, ispirato pesantemente da Platone e dal suo dualismo tra realtà sensibile e Iperuranio, introduce queste entità come stadio intermedio tra fenomeno e noumeno, tra rappresentazione e volontà.

    Queste idee (che Schopenhauer lega all’esperienza estetica) precedono logicamente le rappresentazioni empiriche: l’idea di cane, ad esempio, precede i vari cani reali anche perché l’idea di cane comprende già in sé tutte le possibili rappresentazioni dello stesso. Ma, se è vero questo, l’idea allora non dipende da spazio, tempo e casualità, e quindi è un ente universale ed eterno di cui la realtà empirica non è altro che una copia. L’arte, pertanto, è una rappresentazione di tali idee, perché – come vedremo nel prossimo paragrafo – l’artista riesce a cogliere e mostrare l’idea meglio ancora di quanto non faccia la natura stessa.

    L’unica origine dell’arte è la conoscenza delle idee e il suo unico fine è la comunione di tale conoscenza.


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    Friedrich Wilhelm Nietzsche.
    - La musica è diversa rispetto a tutte le altre arti –
    ‟ Al contrario di tutti coloro che si studiano di far discendere le arti da un principio unico, come fonte di vita necessaria di ogni opera dʼarte, io tengo lo sguardo fisso alle due divinità artistiche dei Greci, Apollo e Dioniso, e vedo in loro i vivi e intuitivi rappresentanti di «due» mondi dell’arte, diversi nella loro essenza intima e nelle loro finalità supreme. Apollo mi sta innanzi come il genio trasfiguratore del ‹principium individuationis ›, grazie a cui soltanto si può conseguire davvero la liberazione nell’illusione per contro al mistico grido di giubilo di Dioniso la catena dell’individuaz ione viene spezzata e si apre la via verso le Madri dell’essere, verso l’essenza intima delle cose. Questa enorme antitesi, che si apre come un abisso fra l’arte plastica in quanto apollinea e la musica in quanto arte dionisiaca, si è palesata a uno soltanto dei grandi pensatori, in misura tale che egli, pur senza la guida del simbolismo degli dèi ellenici, ha riconosciuto alla musica un diverso carattere e una diversa origine rispetto a tutte le altre arti, perché essa non è, come tutte quelle, immagine dell’apparenza, bensì immediatamente immagine della volontà stesa, e dunque rappresenta, rispetto a ‹ogni fisica del mondo, la metafisica›, e rispetto a ogni apparenza, la cosa in sé (Schophenhauer, ‹Mondo come volontà e rappresentazion e› I, p. 310*).
    * La citazione si riferisce all’edizione Frauenstädt [che qui riportiamo, tratta dalla medesima edizione, nel post subito sotto].”
    FRIEDRICH WILHELM NIETZSCHE (1844 – 1900), “La nascita della tragedia. Ovvero grecità e pessimismo” (Fritzsch, Lipsia 1886 nuova edizione con un «Tentativo di autocritica» I ed., “La nascita della tragedia dallo spirito della musica”, Fritzsch 1872, II ed. 1874, messa in commercio da Schmeitzner, Chemnitz 1878), in “Opere di Friedrich Nietzsche”, edizione italiana diretta da G. Colli e M. Montinari, volume III, tomo I, testo critico originale stabilito da Giorgio Colli e Mazzino Montinari, versione di Sossio Giametta, Adelphi, Milano 1976 (I ed.), 16, pp. 105 – 106.

    ‟ Im Gegensatz zu allen denen, welche beflissen sind, die Künste aus einem einzigen Princip, als dem nothwendigen Lebensquell jedes Kunstwerks abzuleiten, halte ich den Blick auf jene beiden künstlerischen Gottheiten der Griechen, Apollo und Dionysus, geheftet und erkenne in ihnen die lebendigen und anschaulichen Repräsentanten «zweier» in ihrem tiefsten Wesen und ihren höchsten Zielen verschiedenen Kunstwelten. Apollo steht vor mir, als der verklärende Genius des ‹principii individuationis ›, durch den allein die Erlösung im Scheine wahrhaft zu erlangen ist: während unter dem mystischen Jubelruf des Dionysus der Bann der Individuation zersprengt wird und der Weg zu den Müttern des Sein’s, zu dem innersten Kern der Dinge offen liegt. Dieser ungeheuere Gegensatz, der sich zwischen der plastischen Kunst als der apollinischen und der Musik als der dionysischen Kunst klaffend aufthut, ist einem Einzigen der grossen Denker in dem Maasse offenbar geworden, dass er, selbst ohne jene Anleitung der hellenischen Göttersymbolik, der Musik einen verschiedenen Charakter und Ursprung vor allen anderen Künsten zuerkannte, weil sie nicht, wie jene alle, Abbild der Erscheinung, sondern unmittelbar Abbild des Willens selbst sei und also «zu allem Physischen der Welt das Metaphysische, zu aller Erscheinung das Ding an sich darstelle. (Schopenhauer, ‹Welt als Wille und Vorstellung› I, p. 310).ˮ
    FRIEDRICH WILHELM NIETZSCHE, ‟Die Geburt der Tragödie. Oder: Griechenthum und Pessimismusˮ (Fritzsch, Leipzig 1886 Neue Ausgabe mit dem «Versuch einer Selbstkritik» ‟Die Geburt der Tragödie aus dem Geiste der Musikˮ, Fritzsch, Leipzig 1872¹, 1874²- Schmeitzner, Chemnitz 1878), in Id., ‟Werkeˮ, kritische Gesamtausgabe herausgegeben von Giorgio Colli und Mazzino Montinari, de Gruyter, Berlin-New York 1972 (erste Auflage), III Abteilung, 1 Band, 16., S. 99 – 100.


    Ristoro immediato per le arti, la musica, la cultura e lo spettacolo dal vivo

    Sono oltre 400 gli operatori culturali che sottoscrivono la lettera aperta sia contro lo stop generale dello spettacolo dal vivo, sia per chiedere un ristoro immediato e a fondo perduto per gli organismi di tutta la filiera culturale, oltre ad un sostegno ai lavoratori dell’intero comparto artistico. Per effetto del nuovo DPCM, fino al 24 novembre sipari chiusi in tutta Italia per cinema teatri concerti e per ogni altra performance artistica dal vivo.

    A nome di tutti i sottoscrittori della lettera aperta indirizzata al premier Conte e ai ministri Franceschini e Gualtieri, il presidente di FEDITART, Gino Auriuso, precisa che “questa misura assunta nei confronti della Cultura e Spettacolo dal Vivo produrrà effetti economici disastrosi per un settore già fortemente provato, e soprattutto provocherà un effetto sociale devastante privando i cittadini di uno strumento di condivisione e riavvicinamento umano, seppur nel rispetto del distanziamento fisico. E’ urgente una misura di aiuto che preveda il ristoro immediato per tutte le arti dello spettacolo”.

    La lettera integrale

    Egregio Presidente, Egregi Ministri,

    la decisione contenuta nel nuovo DPCM che determina la sospensione degli spettacoli in teatri, cinema e sale da concerto, nonché la fortissima limitazione dei circoli culturali, colpisce il comparto italiano che più di ogni altro ha adottato correttamente e rispettosamente le misure prescritte dai protocolli sanitari.

    Ultimi studi dimostrano che i teatri, i concerti, i cinema, sono tra i luoghi più sicuri del Paese, ed in virtù di questo, ci sfugge la ratio con la quale si sospendono tali attività al contrario di altre che per propria natura non possono garantire i livelli di sicurezza raggiunti nei nostri luoghi.

    Questa misura assunta nei confronti della Cultura e Spettacolo dal Vivo produrrà effetti economici disastrosi per un settore già fortemente provato, e soprattutto provocherà un effetto sociale devastante privando i cittadini di uno strumento di condivisione e riavvicinamento umano, seppur nel rispetto del distanziamento fisico.

    Alla luce di tutto questo e per evitare la chiusura definitiva di migliaia di imprese e realtà culturali, chiediamo un immediato ristoro diretto e a fondo perduto per gli organismi di tutta la filiera culturale ed un sostegno ai lavoratori dell’intero comparto: artisti e imprese del settore musicale, teatrale e coreutico, operatori e tecnici dello spettacolo, associazioni, centri e circoli culturali, bande, cori e scuole d’arte.

    Nella certezza di poter contare sul Vs impegno vi auguriamo buon lavoro, l’Italia ne ha bisogno!


    Video: Music and other Arts


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