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Imitation and Expression. Inauthenticity in music according to Giacinto Scelsi

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  • Quentin Gailhac
Quentin Gailhac
Sorbonne Université, EA 3552 Centre Victor Basch
DOI: https://doi.org/10.36253/Aisthesis-14296

Published 2024-02-06

Keywords

  • imitation,
  • expression,
  • musical futurism,
  • kitsch modernism,
  • Scelsi

How to Cite

Gailhac, Q. (2024). Imitation and Expression. Inauthenticity in music according to Giacinto Scelsi. Aisthesis. Pratiche, Linguaggi E Saperi dell’estetico, 16(2), 99–107. https://doi.org/10.36253/Aisthesis-14296

Copyright (c) 2023 Quentin Gailhac

Creative Commons License

This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.

Abstract

This article focuses on the consequences of a little-known work by Giacinto Scelsi, Rotativa (1930), for the concepts of imitation and expression in music. Critical of the mechanization of art peculiar to the Futurism of his time, the Italian composer allows us to think, against the pseudo-photographic reproduction of objects by sound forms, the limits of musical imitation by revealing, from the historicity of his own piece, the inauthenticity of a certain modernism.

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