Existe música surrealista? Intersecções, cruzamentos, desvios

Abstract

It took around to two or three years, between 1923 and 1924, for the movement to be fully nominated and characterized by André Breton in his Surrealist Manifest. Many were its artistic ramifications that were being manifested until then, with a special focus on the fine arts and cinema. Nevertheless, whether there is a surrealist music or not there seems to be no critical consensus, which keeps this field of study an ongoing and provisional research matter with provisional results, always open to revision. Being aware of the respective scarce scientific production, we will resort to some authors we were able to identify as having written in a consistent manner about the subject of our choice, with a focus on Theodor Adorno, in alignment with other authors such as Max Paddison, Anne LeBaron and Hannah Lewis who will serve our aim: starting with a contextualization of the movement, we will try to amplify and build a mapping of the surrealist music, although still in a preliminary fashion, by exploring possible definitions and depictions of surrealist music in connection with the philosophic guide-lines that empower the surrealistic thinking and action. The list of the major contributors of this type of music will include names such as Stravinsky, Kurt Weill, Erik Satie, George Antheil, to which we will add, amongst the many others that could be chosen as being the most paradigmatic representatives of this musical revolution, Edgar Varèse, Pierre Schaeffer, and John Cage.