Professional Documents
Culture Documents
Poglavlje 2. OSTALO U VREMENU: (Chapter 2. Rest in Times)
Poglavlje 2. OSTALO U VREMENU: (Chapter 2. Rest in Times)
Poglavlje 2. OSTALO U VREMENU: (Chapter 2. Rest in Times)
FORGOTTEN SOUNDS)
Dio 1. Postanak (Part 1. Genesis)
rolo stoljee je bilo je vjerojatno ubojiti nastavak ljudske povijesti do sada , to je bio inajglasniji , brutalno udarnim i
mehaniki drzak . Sluajui desetljeima jer oni zgaziti strane , Ross , glazbeni kritiar New Yorker , anthologises u
pometnju . Modernost u glazbi poinje , on vjeruje , s premijere Straussa Salome 1905 ;opera zavrava zavijanje sirena ,
vritei woodwinds i lupanje timpana kao Herod vojnici tijesto na nimfeta ispod svojih titova u ' osam barova buke ' . Talijanski
futuristike Luigi Russolo poziva na ' glazbu buke , slobodno rikati , vrisak , prasak i uzdisati - netemperirana , neumjeren
negodovanje ' .
The last century was probably the most murderous instalment of human history so far; it was also the loudest, brutally percussive
and mechanically brazen. Listening to the decades as they stomp by, Ross, music critic of the New Yorker, anthologises the uproar.
Modernity in music begins, he believes, with the premiere of Strauss's Salome in 1905; the opera concludes with howling horns,
shrieking woodwinds and thumping timpani as Herod's soldiers batter the nymphet beneath their shields in 'eight bars of noise'.
Italian Futurist Luigi Russolo calls for a 'music of noise, free to roar, screech, bang and groan - an untempered, intemperate
outcry'.
1.01-1