By Bernard Bergonzi (eds.)
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But whether expected or not, what actually does take place is colored by the fact that predictions were made. That is, musical events are felt to be normal and regular, surprising, amusing, or even shocking, as they conform to, or deviate from, our predictions. Such goal-oriented music I shall call teleological. (Similarly, the converging lines of perspective in a painting by Raphael or David, the swirling kinetic curves in a Delacroix or Van Gogh, the directional 'arrows' in a Tintoretto or Picasso, all focus the viewer's attention upon particular points of structural culmination- upon visual goals.
4 'Character and plot having disappeared from the novel,' writes Jean Bloch-Michel, 'what is left? The object, replies RobbeGrillet. 's Because it presents a succession rather than a progression of events, this art is essentially static. There are no points of culmination or of focus. All events are equally important and time, as we ordinarily conceive of it, dissolves. There is only duration. For 'The Legacy ofJackson Pollock', in Art News, LVII 26. 'Reflections on the Rothko Exhibition', in Arts, XXXV 43.
A syntax or grammar, which would order these sounds and relate them to one another - creating goals, expectations, or a basis for prediction- is to be avoided at all costs. ) Just as composers have sought, by chance or calculation, to destroy musical syntax by avoiding tonal relationships, repetitions, regular rhythmic patterns and the like, so painters have avoided symmetry, perspective, and the presence of recognizable objects or 1 Edward Lockspeiser, Debussy (1936) p. 240. The End of the Renaissance?
Innovations by Bernard Bergonzi (eds.)