Joseph Delaplace

From Fractured to Fractal

Introduction

From fractured to fractal. Explore how 20th-century music navigated temporal erosion from tonal music, integrating montage and redefining continuity/discontinuity. It rethinks time and space in musical creation.

Abstract

This article is discussing the way twentieth-century musical creation managed to deal with the erosion of the homogenous temporality connected to tonal music, and doing so, how it suggested at different levels, new ways to consider music writing. Using a pluridisciplinary approach necessary to explain how the concept of montage introduced in plastic arts has been able to take root into the musical field at the turn of the century, we will look at various examples focusing on continuity versus discontinuity as a key element of this shift, after reviewing the ins and outs of what could be seen as a “temporality crisis” in music. We will highlight what we can view as a reversal of the classical paradigms in the musical field with regard to time and space. Then, we will show how these aesthetic approaches are in fact reconnecting with some new modes of continuity, improbable ones at times, as they appear to contradict the very nature of continuum.

Review

This article promises a compelling exploration of a pivotal shift in 20th-century musical thought and practice. The title, "From Fractured to Fractal," immediately captures attention, hinting at a transformation in how musical time and structure are conceived. The abstract clarifies that the core argument revolves around how composers navigated the breakdown of homogenous temporality associated with tonal music, subsequently developing novel compositional strategies. The intention to employ a "pluridisciplinary approach," particularly by tracing the concept of montage from plastic arts into the musical domain, is a strong methodological starting point, and the focus on "continuity versus discontinuity" as a key analytical axis appears well-suited to the subject matter of the "temporality crisis." The scope and ambition of this project are commendable. Examining the "reversal of classical paradigms" concerning time and space in music offers a significant contribution to musicological discourse. The article's journey, from dissecting the initial crisis to highlighting new, albeit at times "improbable," modes of continuity, suggests a sophisticated and nuanced argument. The proposed use of "various examples" to illustrate these complex theoretical shifts will be crucial in demonstrating the practical manifestations of these aesthetic changes and substantiating the claim that new forms of coherence emerged from what initially appeared to be fragmentation. While the abstract lays out a very promising framework, the success of the article will depend heavily on the clarity and rigor of its argumentation, particularly when moving from the "fractured" state to a "fractal" understanding. The abstract touches upon "improbable ones at times, as they appear to contradict the very nature of continuum," which is an intriguing claim that will require robust explanation and demonstrative musical analysis. It will be vital for the article to clearly define how "fractal" concepts are applied to musical structure and temporality, beyond the evocative title, and how these "new modes of continuity" are concretely instantiated in the musical examples. If these aspects are thoroughly developed, this article has the potential to offer a profound re-evaluation of 20th-century musical aesthetics.

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