Modernismus in musica est motus mutationis et evolutionis in lingua musica circa 1901 ortus, tempus variorum affectuum in interpretatione priorum musicae categoriarum, novitates quae in novos modos harmonicarum, melodicarum, sonicarum, et rhythmicarum musicae proprietatum ordinandarum et attingendarum, et in mutationes in cosmotheoriisaestheticis quae ad maiorem aetatem arte pertinent, modernismi in artibus illius temporis inducunt. Vocabulum quocum artissime consociatum est innovation.[1] Eius proprietas maximi momenti est "multitudo linguistica," quae significat nullum genus musicae statum praevalentem umquam assumpsisse.[2]
In modernismo musico inhaeret persuasio musicam non rem immotam, a veritatibusaeternis et principiis classicis definitam, sed potius rem quae historicam et progressivam per se esse. Cum fides progressui musico vel principio innovationis nec nova nec modernismo unica est, tales aestimationes magni momenti praecipue sunt intra habitus aestheticos modernisticos.[3][4]
Ricardus Strauss anno 1888, anno Dominis Ioannis, compositionis quae élan vital et breakaway mood modernismi repraesentat (Dahlhaus 1989:331, 334).
Carolus Dahlhaus, musicologusGermanus, modernismum "apertam discontinuitatis historicae rem" describit:
Inventum compositorum Mahler, Strauss, et Debussy altam commutationem historicam significat. . . . Si nomen petimus ut rebellem animi habitum decennii post 1890 describamus (animi habitum a primis Domini Ioannis Straussiani mensuris in musica repraesentatum) cum fictum stili unitatem aetati non imponamus, res exasperare possumus peius quam ad modernismum revertere, vocabulumHermanni Bahr, et de "musica modernistica" modo aperta sine fine dicere, ab anno 1890 (cum certa latitudine) ad initia musicae modernae nostri saeculi vicensimi anno 1910 durante.[6][7]
Alii scriptores putant modernismum musicum aetatem historicam quae a circa 1890 ad 1930 extenditur, et vocabulum postmodernismum aetati post illum annum adhibent.[8] Iam alii asseverant modernismum nulli aetati historicae annecti, sed potius est "habituscompositoris; constructus vivus, qui cum temporibus progredi potest."[9][10]
Anglice: "Inherent within musical modernism is the conviction that music is not a static phenomenon defined by timeless truths and classical principles, but rather something which is intrinsically historical and developmental. While belief in musical progress or in the principle of innovation is not new or unique to modernism, such values are particularly important within modernist aesthetic stances."
Anglice: "an obvious point of historical discontinuity. . . .The 'breakthrough' of Mahler, Strauss, and Debussy implies a profound historical transformation. . . . If we were to search for a name to convey the breakaway mood of the 1890s (a mood symbolized musically by the opening bars of Strauss's Don Juan) but without imposing a fictitious unity of style on the age, we could do worse than revert to Hermann Bahr's term 'modernism' and speak of a stylistically open-ended 'modernist music' extending (with some latitude) from 1890 to the beginnings of our own twentieth-century modern music in 1910."
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