Konec glasbene zgodovine?

magistrsko delo

Gregor Kocijančič (Author), Peter Stanković (Mentor)

Abstract

V popularni glasbi je vse, kar je bilo mogoc?e iznajti, z?e iznajdeno. Izvirnosti ni. Umetnis?ke vsebine so pravzaprav zgolj reciklaz?ne artikulacije preteklih slogov. Ponovna uporaba obstojec?ega znanja je nepogres?ljiv del ustvarjanja novih idej: plagiatorstvo in recikliranje obstojec?ega gradiva sta temeljni gonili kreativnega procesa. V iskanju estetske svez?ine se mora glasba obrniti na intertekstualnost: izposojanje idej in njihova nadgradnja sta tisto, kar v glasbeni umetnosti omogoc?a nadaljnje korake proti novemu. Spoznanje, da je ustvarjalni proces na sploh v veliki meri intertekstualno kolaz?iranje obstojec?ega, je koristno za demistifikacijo kreativnosti: nas?a ustvarjalnost namrec? prihaja od zunaj in ne od znotraj. Z opus?c?anjem predsodka, da mora ustvarjalnost izhajati iz povsem izvirnih idej, nam remiks omogoc?a vec?jo ustvarjalno svobodo. Novosti v razvoju estetskih smeri lahko nastanejo zgolj z neposrednim sklicevanjem na z?e ustvarjena dela. To postmodernistic?no prepric?anje lahko apliciramo na vse veje umetnosti, vendar je najbolj oc?itno v sodobni produkciji popularne glasbe, kjer je povezava med kulturno dedis?c?ino in ustvarjalnimi tehnikami, kot je denimo semplanje, najbolj neposredna.

Keywords

remiks kultura;popularna glasba;intertekstualnost;Množična kultura;Glasbena zgodovina;Postmodernizem;Magistrska dela;

Data

Language:	Slovenian
Year of publishing:	2018
Typology:	2.09 - Master's Thesis
Organization:	UL FDV - Faculty of Social Sciences
Publisher:	[G. Kocijančič]
UDC:	78.011.26:316.7(043.3)
COBISS:	35828829
Views:	634
Downloads:	143
Average score:	0 (0 votes)
Metadata:

Other data

Secondary language:	English
Secondary title:	The end of musical history?
Secondary abstract:	Everything in popular music that could be done, has been done. There is no originality. Artistic content is actually just recycling articulation of past styles. Reuse of existing knowledge is a crucial part of creating of new ideas: plagiarism and recycling of existing material are the fundamental driving forces of the creative process. In search of aesthetic novelty, music must rely on intertextuality: borrowing and upgrading ideas is what enables musical art to take further steps towards innovation. Realisation, that the creative process is mainly an intertextual collage of the existing is useful for the demystification of creativity: our creativity comes from without, not from within. By abandoning the prejudice that creativity must come from purely original ideas, the remix allows us greater creative freedom. Innovativeness in evolution of aesthetic directions can only arise with referencing directly to the preexisting artworks. This postmodernist belief can be applied to all art forms, but is the most obvious in contemporary production of popular music, where the connection between cultural heritage and creative techniques, sampling for example, is the most direct.
Secondary keywords:	Popular culture;Music history;Postmodernism;Master's theses;
Type (COBISS):	Master's thesis/paper
Study programme:	0
Embargo end date (OpenAIRE):	1970-01-01
Thesis comment:	Univ. v Ljubljani, Fak. za družbene vede
Pages:	65 str.
ID:	10961140