Secret Languages: The Roots of Musical Modernism

  title={Secret Languages: The Roots of Musical Modernism},
  author={Robert P. Morgan},
  journal={Critical Inquiry},
  pages={442 - 461}
  • R. Morgan
  • Published 1 March 1984
  • Linguistics
  • Critical Inquiry
In modern prose we speak a language we do not understand with the feeling ... we cannot discourse in this language according to our innermost emotion, for it is impossible to invent in it according to that emotion; in it, we can only impart our emotions to the understanding, but not to the implicitly understood feeling.... In modern speech no poesis is possible-that is to say, poetic aim cannot be realized therein, but only spoken out as such. -RICHARD WAGNER, Oper und Drama 
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In 1917, four years after the appearance of Luigi Russolo's Futurist manifesto "The Art of Noises," and eight years after F. T. Marinetti's founding manifesto, the ultra-conservative German composer
Aspects of musical modernism: the Afrikaans song cycles of Cromwell Everson
Abstract South African composer Cromwell Everson (1925–1991) reflected the compositional language of twentieth-century modernism in most of his oeuvre. Largely influenced by Erik Chisholm and Béla
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This thesis presents an analytical exploration of a number of works from 1985 to 1995, many of which have not previously received detailed attention. Although they stem from quite varied stylistic
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Abstract Sydney of the late 1910s and '20s was not as parochial as music historians have long assumed. The early piano music of Roy Agnew benefited from and reflected the richness and diversity of
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While the regeneration of humanity and purification of the world has been a subject of prophecy and religious art since ancient times, attempts to bring about the apocalypse by aesthetic means have
O ‘Instinto’ Modernista
In this reflection, I will try to devote a careful consideration to the crisis of values which characterized both late 19th and early 20th century. Recalling that crisis will force us to frame a
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Leonid Sabaneyev attested that Skryabin's compositions contained within them ‘a science of tonal love’, and Skryabin himself described his two Op. 57 pieces –Desir and Caresse dansee– as ‘new ways of
Nigerian values and contemporary popular music: a new look
It is argued that contemporary Nigerian music can be employed to connect the African heritage to the world and African youths in diaspora will also have the opportunity to hear, touch, feel and create the musical art even in a distant homeland.
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Abstract Fostered by a new historical awareness in the early nineteenth century, the epigone emerged as one of modernism's most celebrated emblems. While thriving particularly on modernism's highly
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individual instruments within those families—display typical and consistent attack and decay characteristics. The attack time of an instrument is a function of its size and the frequency of the tone


The World As Will And Idea
Gdansk, Poland). 1805 20 April: Suicide (alleged) of his father. 1809–11 Studies in Gottingen. 1811–13 Studies at Berlin University; lectures by Fichte, Wolf, and Schleiermacher. 1813 Writes his
The Symphony
Standard 8' x 4' Units produce one-level platforms or stages, for shows and meetings. Available with portable folding stairs, guard rails, enclosure panels. Multi-level stage arrangements for band
Nietzsche: "Compared with music, communication by means of words is a shameless mode of procedure; words reduce and stultify; words make impersonal; words
  • Marcel Tetel [Durham, N. C.,
  • 1978
, Outmoded Music , Style and Idea , " Style and Idea , p . 124 . Critical Inquiry
    Wesen der Tonkunst
      Complete Works, ed
      • Oscar Levy, 18 vols. (London, 1909-15),
      • 1909
      The terms "foreground" and "background" are derived from the Austrian musical theorist Heinrich Schenker, although I am using them here in a more general and more informal sense than Schenker does
      • Sketch of a New Esthetic of Music, trans. Th. Baker
      • 1911
      The Battle for Art
      • Complete Writings on Art