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Expressionismus in musica est notio probabiliter primum ad musicam adhibita anno 1918, praecipue ad Schoenberg,[1] qui, sicut Basilius Kandinsky pictor (1866–1944), "traditionalia pulchritudinis genera"[2] evitavit ad affectus validos in eius musica significandos.[3] Theodorus Adorno, philosophus, sociologus, studiosus musicae, et compositor Germanicus, affirmat motum expressionisticum in musica petere "amovere omnes musicae traditionalis proprietates vulgatas, omnia per formulas rigisa."[4] Quae putat "Ululatus exemplar litterarium similis."[5] Adorno habet musicam expressionisticam petere "veracitatem proprii affectus sine erroribus, vestitibus alienis, vel euphemismis."[6] Quam Adorno etiam describit animi agitationem de non conscientia, dicens, "depictio timoris in media parte musicae expressionisticae iacet,[7] dissonantia praevalente, ut "concors affirmansque artis proprietas expellatur."[8][9]
- ↑ Anglice: "was probably first applied to music in 1918, especially to Schoenberg."
- ↑ Anglice: "traditional forms of beauty."
- ↑ Sadie 1991:244.
- ↑ Anglice: "eliminate all of traditional music's conventional elements, everything formulaically rigid."
- ↑ Anglice: "to the literary ideal of the 'scream.'"
- ↑ Anglice: "the truthfulness of subjective feeling without illusions, disguises or euphemisms."
- ↑ Anglice: "the depiction of fear lies at the centre."
- ↑ Anglice: "harmonious, affirmative element of art is banished."
- ↑ Adorno 2009:275–276.