what is absolute music and how does it influence the evolution of musical theory?

When discussing absolute music, one inevitably turns to the concept of a piece of music that exists independently of any external references, such as words or visual imagery. This idea has been a cornerstone in the development of musical theory since the late 19th century. The notion of “absolute music” challenges the traditional view that music should be interpreted within the context of its words, stories, or images. Instead, it advocates for music to be appreciated solely based on its inherent qualities and structures.

The term “absolute music” was first coined by the German composer Richard Wagner in 1850, who used it to differentiate between his operas, which he considered to be a form of absolute music, and traditional orchestral pieces. Wagner believed that music should be able to stand alone without needing an accompanying text or story to explain its meaning. This belief was further developed by composers such as Arnold Schoenberg and Igor Stravinsky, who pushed the boundaries of traditional harmony and tonality, creating music that was more abstract and focused on the sound itself rather than any narrative or thematic content.

However, the concept of absolute music is not without controversy. Some argue that music inherently carries associations with other forms of art and language, and that attempting to separate music from these influences is ultimately futile. For instance, a melody might evoke feelings or memories that relate to specific events or emotions, making it impossible to completely isolate the music from its contextual meaning. Others counter that this perspective overlooks the potential for music to exist as a purely aesthetic experience, free from external associations.

Moreover, the debate around absolute music often intersects with broader discussions about the nature of creativity and the role of the artist. Composers who embrace the idea of absolute music often see themselves as explorers of sound, seeking new ways to express ideas through musical structure and texture. They believe that their work can transcend the limitations of language and storytelling, allowing listeners to engage directly with the music’s sonic qualities.

On the other hand, those who reject the concept of absolute music might argue that music’s power lies in its ability to connect with people emotionally and intellectually. By incorporating literary devices, narrative themes, or even direct lyrics, composers can create works that resonate deeply with listeners on multiple levels. This approach allows for a richer emotional and intellectual engagement with the music, as it provides listeners with additional layers of meaning beyond just the sound itself.

In conclusion, the concept of absolute music remains a fascinating and complex topic within the realm of musical theory. It invites us to consider the relationship between music and its surroundings, and to explore the extent to which we can appreciate music purely for its intrinsic qualities. Whether one embraces or rejects the idea of absolute music, it continues to shape our understanding of what it means to compose and listen to music in the modern era.