Server Error in Forum Application
An error has occurred while writing to the database.
Please contact the Forum Administrator.

Support Error Code:- err_SQLServer_getSessionData()_save_new_session_data
File Name:- functions_session_data.asp
Forum Version:- 11.01

Error details:-
Microsoft OLE DB Provider for SQL Server
Violation of PRIMARY KEY constraint 'PK__tblSession__30CE2BBB'. Cannot insert duplicate key in object 'dbo.tblSession'. The duplicate key value is (274610356313bba82ze33z1eed5z17339814815).

SAMUEL JERONIMO: RIMA - Progressive Rock Music Forum
Forum Home Forum Home > Other music related lounges > Get The Word Out
  New Posts New Posts RSS Feed - SAMUEL JERONIMO: RIMA
  FAQ FAQ  Forum Search   Events   Register Register  Login Login

Topic ClosedSAMUEL JERONIMO: RIMA

 Post Reply Post Reply
Author
Message
samuel.jeronimo View Drop Down
Forum Senior Member
Forum Senior Member


Joined: May 26 2005
Location: Portugal
Status: Offline
Points: 132
Direct Link To This Post Topic: SAMUEL JERONIMO: RIMA
    Posted: October 26 2006 at 03:41

Rima:

Music as an excess of transparency and lightness,

or a loss caused by assimilation

 The 20th century gave birth to a wide variety of new languages that for the first time caused people to feel revolted against novelty not only because of the extremely radical ideas brought forth but also because of everything that those ideas put in question.

This revulsion urged its creators tremendously to justify their works so as to be able to defend themselves from such onslaught, but also because these new languages required a new grammar as they presented a radical break with the past.

The very idea of modernism implies a denial of time, the invention of an ongoing present. In the words of Stravinsky, ‘Music is the only reign in which man can build the present’. Modernism, be it in Rilke or Rimbaud, Varèse or Picasso, is viewed as an art of truth, of truth that is truer than the truth of the past; and everything that is created is therefore liable to the paradoxical need to deny itself with every new step.

‘Classical’ modernism was defined by the 19th century British critic Matthew Arnold. According to Arnold, poetry should present itself as ‘creation’, as the mother of all things, as Adam at the dawn of time. The modern poet is a person who names things for what they are, while modernism is above all a statement of literal truth, undoing the figures and the artifices that came before it. Modernist poets transformed this desire for purity into varying degrees of irony, into an upheaval against Romanticism, calling it out as a dying art form.

But Arnold’s idea of modernism does not stand alone, its descendants can be found throughout all of the history of art and modern critique. As regards the alternative power of a German tradition (born during the first generation of Romanticism) or the needle-sharp perception of the ambivalence of Baudelaire, Stendhal and Berlioz, or even of Walter Pater and his followers (Wilde, Yeats, Joyce) – Arnold’s ideas, adapted to new interests and as conveyed by the poet Eliot, have not lost any of their vigour to this very day. The early works of Stravinsky, this pagan hero of new music, transpose this modernism into the realm of music, reducing it to a fairly simplistic and commonplace format. Unlike Schönberg, who never denied his departure from tradition, Stravinsky becomes the alleged prophet of amnesia at the turn of the 19th century.

Rima” [meaning Rhyme] manifests my opinion about this issue, and its musical discourse meanders through the almost imperceptible parameters of the creative conflict between modernism (past-present) and post-modernism (present-future), creating a dialectic relation between my musical writing in a synthesis between Nietzsche’s myth of the eternal return and Heidegger’s rekindling of the notion of one’s being (Dasein).

It is for this reason that I believe that the Present owes the Past, such as the Future shall come to owe the Present, ultimately also owing the Past that gave rise to the Present, and denying altogether the idea of an ongoing aesthetic annihilation of what is ‘old’ by what is ‘new’ by adding layers of different aesthetics in a daring but also exciting process in which all present differences will eventually be attenuated in the Future.

The name of the piece illustrates the connection and interdependence of the different time dimensions: Past-Present and Present-Future, just as in a proper cross rhyme one predict the end sound of a future line by means of listening to the present line’s end sound, and just as one knows the end sound of a past line by listening to the present line’s end sound, and it is the reader (or listener) who searches for this ‘unique moment’ that ‘never arises’ or ‘perhaps will never arise’, in the words of the Portuguese poet António Ramos Rosa, lingering ‘in anticipation of that moment’ in which the musical word can ‘speak the colours, the sweetness, the perfume that transforms the exile into the bright paradise of silence’.

Tracks:

Verso 1 [09.21]

Verso 2 [09.46] - http://jeronimosamuel.no.sapo.pt/discografia/rima.htm

Verso 3 [15.03]

Verso 4 [09.36]

Back to Top
 Post Reply Post Reply

Forum Jump Forum Permissions View Drop Down



This page was generated in 0.230 seconds.
Donate monthly and keep PA fast-loading and ad-free forever.