da film fra tradizione e avanguardia, trad. ingl. Film music between tradizion
and avant-garde, in "Continuity and Avant-Garde Between the Tradizion and
New Challenges" The 19th Slovenian Music Days (19-23 April, 2004),
Ljubljana, Slovenija, pp.84-94.
We should observe that
from the early 20th century to the Second World War, which is a sort of an
historical and cultural turning point, a well-shaped vision of the history of
On the other hand, there are many possible interpretations of the development of
music in second half of the 1900s. The
fundamental element characterizing the second part of the century is the
establishment of new technological media for musical realization that have
modified our conception of music at its root. First we can refer to such
magnetic technologies as the vinyl record and then the digital CD.
Second, I refer to radio, cinema and TV, which have opened a new artistic
period under the banner of technological progress.
Traditional concerts have been placed side by side with - and frequently
replaced by - the recording that permanently fixed a product and placed it in
the archives. In this view, the
concert hall, which used to be the traditional place for the listening to music,
has been gradually losing its pre-eminence in favour of a less ritualised
listening which can be endlessly reproduced anywhere and anytime.
Actually, many compositions that marked the second
half of the century are hardly available in their paper score but they exist in
a recorded version. In some cases the original score consists only of a draft.
In some other cases the score has been lost or it never existed as
composers and interpreters worked in such a symbiosis that the traditionally
written score has proved to be superfluous.
It seems that every musical phenomenon that does not take this radical
change in perspective into consideration tends to become more and more secondary.
The music best representing the second half of the 20th century is the one which
has been able to reach the great mass of people through a wide record diffusion
or by radio, TV and cinema. The
so-called “classical music” has not always been able to grasp this change. Composers remaining linked to an out-dated vision have not
often met with an audience. The so-called popular, or light music, to use a
somewhat diminutive term, has gradually filled all spaces.
here to request the complete