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de POLO PUJADAS, MAGDA
de POLO PUJADAS, MAGDA
One of the most difficult challenges a music theoretician faces, be it historically, philosophically or in other aspects, is that ofcorrectly and precisely framing the meaning that music has in aspecific moment: deducing the "why" and revealing the secret hiddenwithin.The book Pure and Programme Music in the Romanticism, a rigorous andindispensable study to understand music in the period in which musicas an expression of feelings, begins to reach the threshold of thesublime -primarily focusing attention on what pure and programme music represent. Both types of music are instrumental, but the differencebetween them is that the first one, pure music, exists on its own, and for its own sake, establishing an iron-clad alliance with the form.Programme music is inspired by other forms of artistic expression,especially literature, and is indelibly linked with the content.However, halfway between these two types of music, a new one is born:absolute music. This music is the result from the dialecticestablished between the pure and programme, exactly in the middle oftwo opposing philosophies, that of Idealism and that ofMaterialism.All of this context described in this book is what defines the essence of Romantic music but also what allows us to understand the music ofthe twentieth century and that of today, because the controversybetween pure music and programme music has represented, in the history of western musical thought, the turning point that led to thecreation of the Gesamtkunstwerk (Total Work of Art) and therelationship between music and film, for example, as well as otherartistic expressions.
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