{"id":23259,"date":"2019-10-31T00:00:00","date_gmt":"2019-10-30T23:00:00","guid":{"rendered":"https:\/\/www.revuemusicale.ch\/blog\/2019\/10\/31\/les-structures-du-langage-musical\/"},"modified":"2024-08-16T11:00:44","modified_gmt":"2024-08-16T09:00:44","slug":"les-structures-du-langage-musical","status":"publish","type":"post","link":"https:\/\/www.revuemusicale.ch\/it\/critiques\/livres-et-partitions\/2019\/10\/les-structures-du-langage-musical","title":{"rendered":"Le strutture del linguaggio musicale"},"content":{"rendered":"<figure style=\"width: 554px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2023\/01\/783px-Leonard_Bernstein_2_Allan_Warren.jpg\" alt=\"\" width=\"554\" height=\"402\" \/><figcaption class=\"wp-caption-text\">Leonard Bernstein durante una prova, Albert Hall, 1973. Fonte : Allan Warren \/ wikimedia commons<\/figcaption><\/figure>\n<div class=\"text-section\">\n<p>Eccellente insegnante, il direttore d'orchestra e compositore illustra la sua ricerca di una grammatica musicale universale innata, ispirata in parte alla grammatica generativa e trasformazionale di uno dei pionieri della psicolinguistica, Noam Chomsky. Con uno spiccato senso divulgativo e una passione comunicativa, Bernstein esplora la fonologia (i suoni), la sintassi (le strutture concrete) e la semantica (il significato musicale ed extra-musicale) e cerca di determinare le strutture profonde del linguaggio musicale, avvalendosi di numerosi esempi e di analisi approfondite di brani tratti da celebri partiture. Tra i fattori chiave che individua vi sono la ripetizione e il suo complemento, la trasformazione (per cancellazione, associazione, permutazione, incorporazione o qualsiasi altra forma di variazione); l'ambiguit\u00e0, che conferisce interesse alla musica, sia attraverso il cromatismo, l'asimmetria della struttura o la tensione tra atonalit\u00e0 e tonalit\u00e0; le metafore e altre figure del discorso come l'allitterazione, l'anafora, l'antitesi o il chiasmo. Anche se, in conclusione, Bernstein prevede una sintesi in cui tutti gli stili e le tecniche possano alimentarsi e arricchirsi a vicenda, come abbozzo di risposta alla domanda che sta alla base del libro: \"Dove sta andando la musica? \"\u00c8 deplorevole che le ultime due lezioni indulgano al dualismo trattando solo della scuola di Schoenberg da un lato, e di Stravinskij e del neoclassicismo (che dovrebbe salvare la musica dall'espressione soggettiva) dall'altro, trascurando le molte altre strade percorse dai compositori del XX secolo. Ci\u00f2 non toglie nulla ai meriti di questa breve introduzione al significante e al significato della musica, tanto pi\u00f9 che il suo scopo principale \u00e8 quello di suggerire piste di riflessione.<\/p>\n<\/div>\n<div class=\"text-section\">\n<dl class=\"picture media photo\">\n<dt><img decoding=\"async\" class=\"media photo aligncenter\" src=\"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2023\/01\/11_crit_buch_Mettraux.jpg\" alt=\"Image \" \/><\/dt>\n<\/dl>\n<\/div>\n<div class=\"text-section\">\n<p><em>Leonard Bernstein: La domanda senza risposta. Sei conferenze tenute ad Harvard, 312 p., \u20ac 25,00, Editions Minerve, Parigi 2018, ISBN 978-2-86931-151-0<\/em><\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p><strong>L'anno scorso, in occasione del centenario della nascita di Leonard Bernstein, le Edizioni Minerve hanno pubblicato una nuova traduzione di Odile Demange della trascrizione di sei conferenze tenute nell'ottobre e nel novembre del 1973 nell'ambito delle Norton Lectures all'Universit\u00e0 di Harvard, pubblicate con un titolo preso in prestito dal famoso brano orchestrale di Ives \"The Unanswered Question\". <\/strong><\/p>","protected":false},"author":1,"featured_media":23260,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","pgc_sgb_lightbox_settings":"","footnotes":""},"categories":[1614,1616],"tags":[],"class_list":["post-23259","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-critiques","category-livres-et-partitions"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.2 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Les structures 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c\u00e9l\u00e8bre pi\u00e8ce orchestrale de Ives, \u00ab La question sans r\u00e9ponse \u00bb.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.revuemusicale.ch\/it\/critiques\/livres-et-partitions\/2019\/10\/les-structures-du-langage-musical\/\" \/>\n<meta property=\"og:site_name\" content=\"Revue Musicale Suisse\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/SchweizerMusikzeitung\/\" \/>\n<meta property=\"article:published_time\" content=\"2019-10-30T23:00:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-08-16T09:00:44+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2023\/01\/783px-Leonard_Bernstein_2_Allan_Warren.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"554\" \/>\n\t<meta property=\"og:image:height\" content=\"402\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Musikzeitung-Redaktion\" 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