Henry Cowell: o catalisador experimental
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Data
2022-03-22
Autores
Pena, Eder Wilker Borges [UNESP]
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Universidade Estadual Paulista (Unesp)
Resumo
O seguinte trabalho teve como objetivo constatar a natureza da atuação do compositor Henry Cowell como catalisadora da estética experimental em seus mais variados âmbitos. Inicialmente, reconstruímos uma teoria acerca do conceito de experimentalismo que contemplasse todo o histórico do conceito e o expandisse para contemplar novas questões relativas às suas formas de manifestação e sua condição na contemporaneidade. Após isto, através da obra musical de Cowell, seus escritos, estudos acadêmicos realizados sobre o compositor, relatos, documentos e críticas musicais da época, elencamos elementos biográficos que demonstrassem a semente do pensamento experimental e sua motivação, moldando o pensamento estético do compositor. Com esta base, realizamos uma análise discursiva do papel desempenhado pelos escritos de Cowell na propaganda e estabelecimento de um ambiente hábil em termos de público, publicação, gravação, realização e reconhecimento através de três pilares primordiais: o nacionalismo radical, a exploração de parâmetros privilegiados pela música exterior à tradição da música de concerto europeia e o desenvolvimento poético de práticas heterodoxas que viriam a caracterizar a prática experimental. Também, exploramos a relevância da criação da New Music Society, instituição criada por Cowell, responsável pela maior parte da condição de existência da prática experimental enquanto organizadora de concertos, publicação de partituras, gravação de obras, propaganda e financiamento de novos compositores ignorados pelas instituições tradicionais. Por fim, delineamos um panorama estético da obra musical de Cowell e como cada um dos seus desenvolvimentos poéticos serviram como base e referência propulsora para formas ainda mais radicais de experimentalismo durante a segunda metade do século XX. Desta forma, pudemos constatar nossa hipótese inicial de que a atuação de Cowell no mundo da música, em termos políticos, editoriais, organizadores, composicionais, teóricos, acadêmicos e interpessoais cumpriu a função de catalisador da estética experimental, sendo imprescindível à sua existência como ela veio a se tornar.
The following work aimed to ascertain the nature of Henry Cowell’s role as a catalyst of the experimental aesthetic in its broad scope. Initially, we rebuilt a theory on experimentalism which contemplates all its history and expands it to all its new issues related to its forms of expression and its condition in the contemporary era. Afterward, through the musical work of Cowell, his writings, academic writings on the composer, reports, documents, and musical criticism from his time, we listed biographical elements which could exemplify the root of the experimental thought and its motivation in molding the aesthetic thinking of the composer. With this basis, we made a discursive analysis of the role played by Cowell’s writings in the propaganda and establishing of a possible environment, in terms of public, publication, recording, realization, and recognition through three paramount pillars: the radical nationalism, the exploration of priviliged musical parameters outside of the European tradition of concert music and the poietical development of unorthodox practices that would become distinguishing features of the experimental practice. Also, we explored the relevancy of the creation of the New Music Society, originated by Cowell, responsible for most of the existing conditions of the experimental practice as an organizer of concerts, publisher of scores, recording of scores, propaganda, and financing of new composers neglected by the traditional institutions. Ultimately, we outlined an aesthetic panorama of Cowell’s music and how each of his poietical developments served as a basis and propellant reference to more radical forms of experimentalism during the second half of the twentieth century. Thus, we were able to confirm our initial hypothesis in which Cowell’s action in the world of music, in political, publishing, organizing, compositional, theoretical, academic, and interpersonal terms fulfilled its function as a catalyzer of the experimental aesthetics, being indispensable to its existence as it came to be.
The following work aimed to ascertain the nature of Henry Cowell’s role as a catalyst of the experimental aesthetic in its broad scope. Initially, we rebuilt a theory on experimentalism which contemplates all its history and expands it to all its new issues related to its forms of expression and its condition in the contemporary era. Afterward, through the musical work of Cowell, his writings, academic writings on the composer, reports, documents, and musical criticism from his time, we listed biographical elements which could exemplify the root of the experimental thought and its motivation in molding the aesthetic thinking of the composer. With this basis, we made a discursive analysis of the role played by Cowell’s writings in the propaganda and establishing of a possible environment, in terms of public, publication, recording, realization, and recognition through three paramount pillars: the radical nationalism, the exploration of priviliged musical parameters outside of the European tradition of concert music and the poietical development of unorthodox practices that would become distinguishing features of the experimental practice. Also, we explored the relevancy of the creation of the New Music Society, originated by Cowell, responsible for most of the existing conditions of the experimental practice as an organizer of concerts, publisher of scores, recording of scores, propaganda, and financing of new composers neglected by the traditional institutions. Ultimately, we outlined an aesthetic panorama of Cowell’s music and how each of his poietical developments served as a basis and propellant reference to more radical forms of experimentalism during the second half of the twentieth century. Thus, we were able to confirm our initial hypothesis in which Cowell’s action in the world of music, in political, publishing, organizing, compositional, theoretical, academic, and interpersonal terms fulfilled its function as a catalyzer of the experimental aesthetics, being indispensable to its existence as it came to be.
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Palavras-chave
Experimentalismo, Henry Cowell, Experimentalismo Avant la Lettre, Música experimental