Mašinizmas XX amžiaus pirmosios pusės muzikoje

LTStraipsnyje siekiama atkreipti dėmesį į XX a. pirmojoje pusėje susiformavusią estetinę stilistinę mašinizmo idiomą. Klausantis to meto kūrinių bei analizuojant negausią šiam reiškiniui skirtą muzikologinę literatūrą aiškėja, kad kūrėjų susidomėjimas technologijomis XX a. pirmojoje pusėje reiškėsi dviem kryptimis: tai eksperimentinio pobūdžio muzikos mašinų (dažniausiai elektrinių) konstravimas ir mašinistinių įvaizdžių perteikimas tradicinėmis akademinės muzikos raiškos priemonėmis ir instrumentarijumi. Išsamių studijų apie mašinizmo muziką kol kas nėra – trūksta ir visuotinai priimtos terminologijos, todėl svarbiausios straipsnio autorės vartojamos sąvokos, kurių neaptikta skaitytuose šaltiniuose, būtų šios: 1) mašinizmo idioma – estetinė stilistinė muzikos kryptis, kuriai būdingi technologijų inspiruoti įvaizdžiai ir mašinistinis muzikos kalbos priemonių kompleksas; 2) mašinistinis kompleksas – muzikos kalbos elementų, būdingų embleminių mašinistinių kompozicijų stilistikai, visuma.

ENMachinistic images in the works of European composers significantly added in the number in the first half of the 20th century. Technologies became an important source of inspirations influencing various levels on creative solutions of progress-captured composers looking for innovations in the musical language. Dynamic transformation of the musical thought was facilitated by internal and external impulses. The external world was quickly changing and impacting, at a rapid pace, on human life, human philosophy and conception of identity. Such a situation required original concepts from a creator based on new artistic images that respond to the external changes and ease integration into social life. Composers differently approached the remains of musical romanticism. Some of them relentlessly hunted them away and created a new sound system themselves, exploring into new themes (Italian futurists), while others laid completely new paths for the development of harmony and timbre (the new Vienna school) or turned back to the traditions of rational composing so cherished in classicism and earlier epochs (neo-classicists). The new objectivity (Ger. Neue Sachlichkeit) started manifesting a radical commitment to the modern environment focusing on the visible, objective reality. Max Brand, Paul Hindemith and Ernst Křenek, the authors of "operas of the time" (Ger. Zeitoper) composed in 1927–1930, inserted into them the then relevant ideas of progress, technological novelties, modern communication systems and means of transport, presenting them as decorations, plot themes and artistic devices or, sometimes, simply as new acoustic effects.The Futurist Manifesto published in "le Figaro" in Paris on 20 February 1909 may be considered a written document marking the start of avant-garde movements. An antithesis of mechanics and organicity, machine and human being represented the main axis of futurist ideological tension. "Machinist Hopkins" by Max Brand, opera belonging to the above mentioned "operas of the time", seems to be the most striking reflection of this ideology in music. A similar human-degrading or humanexploiting approach is conveyed by the portrait of Ajax in the opera "Transatlantic" by George Antheil. Possessed by the same mood, the scientist in "Metropolis" by Fritz Lang (1927) creates a robot - a machine-woman. "Symphony of Factory Sirens" by Arseny Avraamov can be regarded as the apotheosis of everything relating to technological progress. In 1922, when a conductor climbed on a roof in Baku and conducted the concert to factory sirens and steam whistles, all sound sources of the city were involved. Technological images in the early machinistic compositions can be divided into two types: 1) decorative machinism - imitating single machine sounds on musical instruments; 2) conceptual machinism - attempting to create an aesthetic stylistic idiom of music. At the beginning of the 20th century, technological images were created "manually", that is, attempting to reproduce machine sounds using traditional means of musical expressions. […] Certainly, this had to do primarily with an opportunity to record any sound you like and to use it in the creation of music.