Dettaglio
AutoreMonari Giorgio
TitoloIl suono del verbo oltre la desolazione dell'esilio e lo strepito della globalizzazione. I Considerazioni estetico-musicali
RivistaGregorianum
Annata97
Fasc.4
Anno2016
Pagine789-807
Campo TematicoInterreligiositą e Interculturalitą
Parole Chiave
Abstract The sound of western twentieth century music often tells us about the waste land where humanity found itself exiled and increasingly overwhelmed by the noise of the global orgy. But, at the end of the past century, there appeared some musical postures showing an intention to re-focus experience in its representational and qualitative dimensions, once more longing for personal (and symbolic) subjectivity. While some of them were only able to make void such an aspiration - turning it into its parody -, it is notable how others sincerely converged upon it. This article analyzes two important examples of these opposed tendencies: two settings of Psalm 51 (50) by the British composer Michael Nyman and by the Estonian Arvo P?rt. If Nyman's Miserere clearly reveals aspects of the aesthetics of the simulacrum, that is not the case with P?rt's Miserere. We can ascribe most of the compositions of Part's mature period - and his Miserere - to the tendency aiming at putting again the senses at stake, so that they should be the foundation of an experience that is open to experience itself and to revelation, in order to reset out for an idea of personal subjectivity. We could say - so it seems - composers like P?rt want to follow the path of the dynamics of the incarnation of the World, to re-open a way where man itself finds again hid own identity, that is to say a road to arrive at unity with Christ.
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