A Research Of The Reception History Of Erik Satie

The French composer Erik Satie(1866-1925)has been controversial for more than a century.Although Debussy,ravel,Planck and many other great composers in the history of western music have said they were inspired by Satie,some scholars still find it difficult to truly recognize him as a "pioneer" because of his weak composing skills and lack of magnificent music works.From his life to the present,he has gone through three processes: anonymity,fame and then recognition,but nobody.For a long time sadie either appeared as a rather vague composer or was mentioned only in the writings of other composers and artists considered more important.But all that changed after John cage's "Renaissance" of sadie.More than three decades after his death,cage's efforts led to a reassessment of sadie's identity.Critics and musicologists generally recognized sadie's pioneering work and his influence on the development of various fields of modern art.Sadie went from a minimalist composer to a pioneer of experimental music.In the 1990 s,sadie gained considerable attention,but the high tide was followed by the apathy of the century.The author found in the literature retrieval,the present research for sadie from various cultural field has been more than music field,it can not help but let the author think that since the 20 th century,the word "musicians" referred to in the change already,in the face of more and more philosophical creators,music scholars will continue to keep the prior assumption of media material to define music art? Eric satie is incompatible with traditional composers in attitude,but his expression forms often reflect the habits of the old media.He belongs to a very specific historical discourse and a very specific cultural background paradoxically.Whether a process of almost spiritualization can be integrated into the history of music,and how spirit and metaphysics can be integrated into epistemology,is also the question the author hopes to further ponder through this paper.For a long time,the research on the history of music has paid more attention to the composers and works,and the receivers who are as important as the creators and disseminators in the aesthetic process are often neglected.As the dominant aesthetic function of the composer,his works should be recognized by the audience through the interpretation of the performer,and the response of the audience will in turn affect the composing process of the composer from multiple angles.By observing the differences of "aesthetic distance" and "expectation horizon" between the receiving groups composed of the recipients with different aesthetic abilities and different circumstances,we can realize the commonness and characteristics of each historical stage.Therefore,if we try to set our eyes on the receiving side,we can gain a new perspective of understanding and broaden the horizon of the study of music history.In this paper,the author will according to the method from time,from the time of process and characteristics of small details,clarify sadie accept in since one hundred and in each stage of evaluation content,specific attempt by investigating the way of historical context to clarify the cause of these changes and rules,analyze its characteristics.