Harmonia & Orfeus

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  • Author(s): Florjanc, Ivan (Author)
  • Document Type:
    Article in a symposium
  • Publication Date:
  • Publication Information:
    : Slovenski Glasbeni Dnevi
  • Language:
  • Additional Information
    • English Title:
      Harmony & Orpheus
    • Record Type:
      Main Record
    • Major Topics:
      27: Western art music -- History. To ca. 1910 (Romantic and post-Romantic)
    • Subject Terms:
    • Abstract:
      English: Romanticism is above all a reaction to the emergence of illuminism, with a primarily irrational orientation. The prevailing standardized polemics against reason attempts to balance the opposing desire for deeper understanding, which prefers to take recourse to historical sources, to the antiquity of the nations of the Aegean Sea. Even the aggressive modernism of the futurists remained trapped in its own dependence on the glorification of technical inventions. In spite of its revolutionary desire to break with the past, Romanticism did not want to tear itself away from the fundamental and supporting paradigms of Western civilization, i.e. the curiosity of critical understanding, or an ontological dependence on scientifically based theories and principles, also in the area of musical art. Throughout European history, Harmony and Orpheus are present as a peradigm not just for music, but also as part of the supporting patterns of thought in the West. As an omnipresent principle, harmony as coincidential oppositorum, as "impossible harmony", enables the union between itself and apparently irreconcilable opposites. Similarly, the figure of the Thracian singer Orpheus is a paradigm of the creator of practical music, of resounding and audible harmony. Anthropologically, in the second century Christ appears as the new Orpheus in the role of Harmony in the Universe and in the microcosmos-human. The beginning of the development of opera in Europe, whose greatest flowering occurred precisely in the Romantic period, is also linked to Orpheus's figure, with its multiple meanings. Harmony and Orpheus are amalgamated in one single figure: Harmony as an invisible force of thought that combines the incompatible, Orpheus as an enlightened creator (poiesis) and as a practically proficient (techne) artist.
    • Abstract:
    • Source:
      Mediteran—Vir glasbe in hrepenenja evropske romantike i moderne/The Mediterranean—Source of music and longing of European Romanticism and modernism. Published by: Slovenski Glasbeni Dnevi, Ljubljana, 2010. Pages: 21-35., (Link to This Item) (Link to All Related Parts)
    • Publication Information:
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    • Publication Date:
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  • Citations
    • ABNT:
      FLORJANC, I. Harmonia & Orfeus. [s. l.], p. 21–35, 2010. Disponível em: http://search.ebscohost.com/login.aspx?direct=true&site=eds-live&db=rft&AN=A656346. Acesso em: 24 nov. 2020.
    • AMA:
      Florjanc I. Harmonia & Orfeus. 2010:21-35. Accessed November 24, 2020. http://search.ebscohost.com/login.aspx?direct=true&site=eds-live&db=rft&AN=A656346
    • APA:
      Florjanc, I. (2010). Harmonia & Orfeus. 21–35.
    • Chicago/Turabian: Author-Date:
      Florjanc, Ivan. 2010. “Harmonia & Orfeus,” 21–35. http://search.ebscohost.com/login.aspx?direct=true&site=eds-live&db=rft&AN=A656346.
    • Harvard:
      Florjanc, I. (2010) ‘Harmonia & Orfeus’, pp. 21–35. Available at: http://search.ebscohost.com/login.aspx?direct=true&site=eds-live&db=rft&AN=A656346 (Accessed: 24 November 2020).
    • Harvard: Australian:
      Florjanc, I 2010, ‘Harmonia & Orfeus’, pp. 21–35, viewed 24 November 2020, .
    • MLA:
      Florjanc, Ivan. Harmonia & Orfeus. 2010, pp. 21–35. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&site=eds-live&db=rft&AN=A656346.
    • Chicago/Turabian: Humanities:
      Florjanc, Ivan. “Harmonia & Orfeus,” 2010, 21–35. http://search.ebscohost.com/login.aspx?direct=true&site=eds-live&db=rft&AN=A656346.
    • Vancouver/ICMJE:
      Florjanc I. Harmonia & Orfeus. 2010 [cited 2020 Nov 24];21–35. Available from: http://search.ebscohost.com/login.aspx?direct=true&site=eds-live&db=rft&AN=A656346