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WINGED WORDS, PHRASEOLOGICAL UNITS
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Winged words, phraseological units. Meaning, history of origin, examples of use

Winged words, phraseological units

Directory / Winged words, phraseological units

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Verify harmony with algebra

Pushkin A.S.
Pushkin A.S.

Phraseologism: Verify harmony with algebra.

Meaning: About a hopeless attempt to judge artistic creativity, based only on the rational principle, excluding feelings, the unconscious, etc.

Origin: The primary source is the tragedy "Mozart and Salieri" (1830) by A. S. Pushkin (1799-1837). Salieri's words (scene 1): "... craft // I set a footstool for art: // I became a craftsman: to my fingers // I gave obedient, dry fluency // And fidelity to my ear. Killing sounds, // I disintegrated music like a corpse "I believed // I use algebra to harmonize. Then // I already dared, experienced in science, // Indulge in the bliss of a creative dream."

Random phraseology:

Music of the future.

Meaning:

1. About the low artistic level of any work of art, not necessarily musical (ironic). 2. About an unrealistic plan, which so far only serves as an excuse for non-committal conversations (ironic, disapproved).

Origin:

From German: Zukunftsmusik. The expression was born in Europe in the first half of the 1810th century, presumably in Germany. It is found both in the German composer Robert Schumann (1856-1847), and in music critics who spoke ironically about all kinds of innovations, such as, for example, the reviewer Karl Gaillard (Berlin Musical Gazette, 1813), who called the works of the Frenchman Berlioz "music future", and his creative search - "tricks". But later this expression became associated only with the work of the German composer Richard Wagner (1883-1850), who outlined his idea of ​​truly modern music in the book Artwork of the Future (1861). It caused a storm of controversy: they ironically both Wagner's musical theory and his compositions, calling them derisively "the music of the future." At first, Wagner protested against what he called the "ridiculous desire to create the music of the future", which was attributed to him, but later, for polemical purposes, he began to use this expression, naming his new book (1873) "Music of the Future. Letter to a Friend". In Russian literature, this expression is first encountered by the poet Pyotr Vyazemsky. In the article "Notes on a laudatory word to Catherine" (1874), he wrote: "If there is music of the future, then we can say about Karamzin's language that this is the music of the past." He later uses this image again in his notes from "From an Old Notebook" (1870): "NN says:" I would have nothing against the music of the future if we were not forced to listen to it in the present. "Introduce realism into music then like introducing poetry into algebra." This expression was also popular in the musical environment. In the form "musicians of the future" it was used by the composer Alexander Serov in the article "The first symphonic meeting of the Russian Musical Society this season" (1895). He wrote: "It would be difficult to reproach this program with a predilection for the latest music or retrograde. Strictly classical names in the music world flaunt here along with one of the heroes of modern art, with a composer who, for so many, is "stained" by solidarity with Wagner, belongs to dangerous gang of "musicians of the future", "tsukunftists" (A. N. Serov, Critical articles, vol. IV, St. Petersburg, XNUMX).

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