NEW VISIONS IN THE RESEARCH OF MUSIC HISTORY

Approaching the history of music at present day, entails, first and foremost, setting in order the writings of important authors, who, by their general-cultural view (connection to the historic, esthetical, philosophical and political ideas of the time), and musical (the balance between general aspects regarding the presentation of either eras, styles, or composers and their oeuvres, and the personal option for certain esthetics, certain language or significant opus), contributes to the diversity of research methods. The musicologist Jean Jacques Nattiez, in his study work Histoire de la musique of the volume Histoires des Musiques Europeenne, is developing the idea of a three-direction systematization of prior exegeses. Therefore, the browsing of the works of Manfred Bukofzer, Alfred Einstein, or Charles Rosen, is revealing the perception over music history as a succession of historical-stylistic time periods. Francis Dhomont was explaining, back in 1990, in his work Le posmodernisme en musique: aventure neobaroque ou nouvelle aventure de la modernite? The differences in music history styles from the so-called Zeitgeist Zeitgeist viewpoint. According to Carl Dalhaus Grundlagen der Musikgeschichte (1967), or Herman Danuser Die Musik des 20. Jahrhunderts (Neues Handbuch der Musikwissenschaft, 1984), the history of music represents an occurrence derived from the succession of generations. Therefore, in what way the process of music history dynamics may be interpreted? Is it subject to being divided into periods of styles, to the spirit of times or generations? These are mere few questions, the answer to which we will attempt to find, throughout the investigation of this study paper.