The World and the Human Being of the Beginning of the 20th Century Reflected by the Art of Music in Russia. Second Essay
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Abstract
Despite all the weightiness of the heroic element which was elaborated upon in my first essay
(Problemy muzykal'noj nauki/Music Scholarship, 2019, No. 1), of incomparably greater importance
from the point of view of disclosure of the actively transforming character of the new era was
dynamism, which became one of the most important constants of contemporary sense of being
alive. Moreover, in any of their variants the energetics of the early 20th century was distinct for
its inclination towards powerful dynamic pressure, elasticity, sharpness, immediacy, passionate
excitement and quickened pulsation. Accessory to such energy, as to dynamism in general, was
defined for the 20th century by its constructive urbanistic essence. For all the abundance of the
term antiromanticism, frequently addressed to the art of that time, the predominating vector of what
occurred at that time was in the gravitations of particularly the romantic kind, which were fulfilled
by two prevailing and interrelated principles – the principle of extremality and the principle of
antitheses. One of the mainstream processes of the early 20th century was connected with the
aspiration towards universal emancipation and extrication. Hence also comes such a significant
role of elemental spontaneity, which was inevitably accompanied by various kinds of destructive
phenomena. On the wave of the process of emancipation, rejecting the limitations and the restraining
elements, the human being inevitably passed into the sphere of negative manifestations, which
became the norm for the early 20th century. Among such manifestations, the most menacing turned
out to be the unfolding of the complex of aggression.
Keywords: the art of the early 20th century, dynamism and its reflection in art, the romantic
world perception, antiromanticism, emancipation and extrication.
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