Page 301 - Vinkler, Jonatan, in Jernej Weiss. ur. 2014. Musica et Artes: ob osemdesetletnici Primoža Kureta. Koper: Založba Univerze na Primorskem.
P. 301
Razkorak med glasbeno poetiko
in estetiko pri Urošu Rojku
Leon Stefanija, Ljubljana
Today, a composer is put in a rather schizophrenic situation: the postu-
lates of genuine creation stand in a line with the belief that hardly any-
thing new or original may be achieved in music. To search for unique-
ness in an artistic enterprise today would be a rather suspicious ontological task:
and, besides, who would dare to question uniqueness of a phenomenon in an
era of differences? Of course, one may object that the main functionalist quan-
dary – the omnipresent saturation with differences and specificities leads to-
ward certain clustering of allegedly incommensurable phenomena – shifts the
focus toward certain search for universals, common, shared, or at least com-
parable features. In any case, certain forgetfulness1 seems fairly relevant for the
contemporary musical practice, a process of leaving the historical and contex-
tual variables to certain extent aside in the name of the valuable and the real.
Wolfgang Rihm formulated the current perspective of new music pro-
duction neatly in an interview:
neuemusikzeitung:Ascomposer,howdoyoufacethe[…]audiences’fearofthenew?
Wolfgang Rihm: By offering always something new. There is also certain […] fear
of the old, of the historicity [Geschichtlichkeit]. Generally are the ‘ fears’ [Äng-
ste] in this field always something to count on: we reproduce them while being scared
from them. Naturally, one leans on the majorities with chattering teeth.
neue musikzeitung: How do you see the responsibility of the composer towards tradi-
tion and towards our society?
Wolfgang Rihm: Whoever makes art, is the tradition. That’s always been that
way. In this should be seen also the responsibility towards society: through creating
1 Cf. Armin Köhler, »'...ohne Vergessen ist Erfindung nicht möglich...'.,« Positionen: Beiträge Zur Ne-
uen Musik 72 (2007): 14–15.
razkorak med glasbeno poetiko in estetiko pri urošu rojku
299
in estetiko pri Urošu Rojku
Leon Stefanija, Ljubljana
Today, a composer is put in a rather schizophrenic situation: the postu-
lates of genuine creation stand in a line with the belief that hardly any-
thing new or original may be achieved in music. To search for unique-
ness in an artistic enterprise today would be a rather suspicious ontological task:
and, besides, who would dare to question uniqueness of a phenomenon in an
era of differences? Of course, one may object that the main functionalist quan-
dary – the omnipresent saturation with differences and specificities leads to-
ward certain clustering of allegedly incommensurable phenomena – shifts the
focus toward certain search for universals, common, shared, or at least com-
parable features. In any case, certain forgetfulness1 seems fairly relevant for the
contemporary musical practice, a process of leaving the historical and contex-
tual variables to certain extent aside in the name of the valuable and the real.
Wolfgang Rihm formulated the current perspective of new music pro-
duction neatly in an interview:
neuemusikzeitung:Ascomposer,howdoyoufacethe[…]audiences’fearofthenew?
Wolfgang Rihm: By offering always something new. There is also certain […] fear
of the old, of the historicity [Geschichtlichkeit]. Generally are the ‘ fears’ [Äng-
ste] in this field always something to count on: we reproduce them while being scared
from them. Naturally, one leans on the majorities with chattering teeth.
neue musikzeitung: How do you see the responsibility of the composer towards tradi-
tion and towards our society?
Wolfgang Rihm: Whoever makes art, is the tradition. That’s always been that
way. In this should be seen also the responsibility towards society: through creating
1 Cf. Armin Köhler, »'...ohne Vergessen ist Erfindung nicht möglich...'.,« Positionen: Beiträge Zur Ne-
uen Musik 72 (2007): 14–15.
razkorak med glasbeno poetiko in estetiko pri urošu rojku
299
