Carl Nielsen and Early Twentieth-Century Musical/Aesthetic Theory
DOI:
https://doi.org/10.7146/cns.v1i0.27719Abstract
Both in his music and in his writings, Nielsen’s independence of spirit resists categorisation. Nevertheless, many of the articles of faith most closely associated with him – and even the actual words in which they are couched – reflect the musical/aesthetic discourses of his time. Such affinities may be traced, for instance, in the writings of the Russian musicologist Boris Asafyev, the Austro-Swiss theoretician Ernst Kurth and the French philosopher Henri Bergson. Awareness of this intellectual context helps to explain why close examination of Nielsen’s musical language is of more than merely technical significance (an example is given from the first movement of his First Symphony).
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Published
2003-04-10
How to Cite
Fanning, D. (2003). Carl Nielsen and Early Twentieth-Century Musical/Aesthetic Theory. Carl Nielsen Studies, 1. https://doi.org/10.7146/cns.v1i0.27719
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