Morricone remembers Petrassi: "Do not neglect 'absolute music'"

And so...?

micamahler wrote:

And so...?

@ Gerardo

so... what are the strong doubts?

... absolute music does not exist, I notice now that there were quotation marks in the title. What meaning would you give them?

Gerardo wrote:

... absolute music does not exist, I notice now that there were quotation marks in the title. What meaning do you give them?

it is truly difficult - for me - to understand what meaning to give to those double quotation marks present in the text.

One should ask the author of the article: Christian Giorgio.

Or, without disturbing the author, try to understand the meaning he gives to the double quotation marks. But even in this way, in this specific case, I cannot figure it out. I mean that typographic rules are debatable from publisher to publisher and also from one author to another. But it would be a good thing if everyone had internal consistency: something that I do not see in the article we are talking about.

I will explain myself with some examples.

"Absolute music", "High music", "lost time", "to free", "musical noises", "direct", "Ginc", "Three strikes" (all within double quotation marks " ").

Would these all be things that do not exist?... I don't think so. Instead, it seems to me that the columnist uses double quotation marks for various purposes: highlighting a particular expression, enclosing the title of a work, expressing irony.

Frankly, it seems too much to me. To write titles of works (e.g., Three strikes), italics is more common. Acronyms (e.g., GINC) are written in uppercase.

In addition to all this, I note that there is a point where one reads «musica assoluta» (written between guillemets!)... What could the difference possibly be!?

Because there must be a difference.

I repeat to you Gerardo, to your question "What meaning do you give them?", faced with a text of such "internal consistency", I do not know how to answer you.

I think it is not a matter of believing or not whether it exists or does not exist. The term "absolute music" was coined starting from Kant's "Critique of Judgment" and, therefore, as always, should be contextualized.

However, it is quite evident that Maestro Morricone uses it in antithesis to his film music because by composing only "absolute" or "high" music, he would not have managed to make ends meet. Thus, it is a discussion entirely internal to his production and how he relates to it.