How seriously is it with the today's "serious music"?

Abstract

Relevance of the study. Discussion, classification and evaluation of the new in music are still firmly anchored in a centrally work-oriented, historically reflected approach to music. The new «material» qualities brought to bear in the work and are appreciated, on the one hand, and the applied compositional techniques are acknowledged in their distinctiveness and novelty, on the other hand. In fact, such a view stems mainly from the 19th century, and an aesthetic orientation aimed at «autonomy». Although it has repeatedly been questioned, although it has often proved to be unsuitable for dealing with music not oriented to work, it has been maintained and maintained as a “material aesthetic” until the recent past. Main objective of the study. The discussion of the material-aesthetic orientation here, once from a producer (composer), then music-philosophical (Т. Adorno) and recipient (listener) perspective, attempts to point out an alternative by placing the question of «meaning» at the center of attention. The scientific novelty and main findings It not only implements the relationship between means and purpose, but also reverts the intentions of speech realized in music to its own right, but also shifts the compositional use of funds under the «progress aspect» to the level of statement-understandable appropriateness. The research methodology. The essay proceeds with music-historical, aesthetic, sociological and discourse-analytic arguments in the core of a still ongoing musicological discourse, taking into account therefor relevant literature.