A search engine inspired by the Muses

About us  |  Why use us?  |  Press  |  Contact us

Topic: Musical modernism

Ads by Google      Make It New: The Rise of Modernism s While most exhibitions on Modernism have focused solely on literary or visual materials, "Make It New: The Rise of Modernism" presents a wider range of artistic creations, from musical scores and set design to mechanical inventions and the X-ray. Since its founding in 1957, the Ransom Center responded to Modernism by collecting major texts, scores, manuscripts, art and objects from the movement. Modernism, which flourished from the 1890s to 1939, arose from a set of occurrences -- cultural, scientific and material -- that changed the nature of modern life. http://www.hrc.utexas.edu/news/press/2003/nr100903modernism.html   (708 words)      Contemporary classical music - Wikipedia, the free encyclopedia Modernism is also present as surface or trope in works of a large range of composers, as atonality has lost much of its ability to terrorize listeners, and even film scores use sections of music clearly rooted in modernist musical language. The first is the continuation of modern avant-garde traditions, including musical experimentalism, for example by Magnus Lindberg. The lesson of obscure composers in the past becoming important later applies doubly so to contemporary music, where it is likely that there are "firsts" before the officially listed first, and works which will be later admired as exemplars of style, which are as yet, unheralded in their own time. http://en.wikipedia.org/wiki/Contemporary_music   (708 words)      Lithuanian Music Information and Publishing Centre Neoromanticism was once looked down on as dull in this country, but in the eyes of the world appeared preferable to all the beliefs and inner self-respect of Lithuanian modernism. The Soviet aesthetics of music were built on an assumption developed in the period of romanticism that the idea and essence of music is the basis for its form. At present we are open not only to all valuable transformations in the world of music, but are also immediately influenced by the trends and first of all by the market principles predominant in the world of Art. http://www.mic.lt/articles_balakauskas.htm   (708 words)      Minimalist music - Wikipedia, the free encyclopedia The first set of criticisms are from proponents of musical modernism who regard minimalism as a betrayal of progress, a banalization of modernity and backsliding into kitsch. The term minimalist music is derived from the concept of minimalism, which was earlier applied to the visual arts. It should be noted that the minimalist movement in music bears only an occasional relationship to the movement of the same name in visual art. http://en.wikipedia.org/wiki/Minimal_music   (1961 words)      List of musical terms As implied above the works of the "Dada" movement received greater attention, as did collagists such as Robert Rauschenberg, whose works were initially considered unimportant in the context of the modernism of the 1950s, but who, by the 1980s, began to be seen as seminal. Much of this centers on a shift of basic subject matter: postmodern artists regard the mass media as a fundamental subject for art, and use forms, tropes, and materials - such as banks of video monitors, found art, and depictions of media objects - as focal points for their art. This is often labelled 'accessibility' and is a central point of dispute in the question of the value of postmodern art. http://www.acsu.buffalo.edu/~stadelm/terms04.htm   (928 words)      Culture - Modernity and the Avant-Garde in Romanian Music, 1920-1940 Coming back to the landscape of Romanian musical composition after 1930,, first of all we have to notice that the most important bridge between the new decade and the modernism of the 1920s - that is the intentional "schocking", especially grotesque-comic treatment of the indigenous musical element - becomes gradually thinner towards the mid-1930s. Therefore, what primarily distinguishes the musical modernism from that of the other in the Romanian arts, is that its birth after 1920 is almost simultaneous and partially synonymous with the configuration of an original national art itself, at the general scale of our school of composition. The violence of the musical "gesture", the enthusiastic atmosphere, an acuity of the language, rather than a properly emotional one, are the principal elements which Romanian musical composition has lifted from the "barbarian style" initiated by Stravinski. http://www.prodlogsys.ici.ro/romania/en/cultura/m_muz2.html   (3159 words)      MTO 3.5: Hermann, Georgina Born's Rationalizing Culture Reflexive Postmodern Anthropolgy Meets Musical "Modernism": Georgina Born's Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde. Born asserts that the musical avant-garde, a species of musical modernism, is in crisis: it is no longer marginal and critical of the dominant order, but still promotes a view of history in which the present state augurs yet a better musical future through technology. This ethnographic study is set against a discursive characterization of modernism and postmodernism in music. http://mto.societymusictheory.org/issues/mto.97.3.5/mto.97.3.5.hermann.html   (6487 words)      Postmodern music - Wikipedia, the free encyclopedia As a musical style, postmodern music contains characteristics of postmodern art—that is, art after modernism (see Modernism in Music). As a musical condition, postmodern music is music situated after the modern age, during the present period, where music has become valued primarily as a commodity and a culture, rather than a form of idealized modernist expression for its own sake. Postmodern music is both a musical style and a musical condition. http://en.wikipedia.org/wiki/Postmodern_music   (2517 words)      Postmodern music - Wikipedia, the free encyclopedia As a musical style, postmodern music contains characteristics of postmodern art —that is, art after modernism (see Modernism in Music). As a musical condition, postmodern music is music situated after the modern age, during the present period, where music has become valued primarily a commodity and a culture, rather than a form of idealized modernist expression for its own sake. Postmodern music is both a musical style and a musical condition. http://en.wikipedia.org/wiki/Postmodern_music   (2517 words)      kaon na > WORD > Post/Modern Paradigms Something that already skews music towards inherent modernism is that music uses a digital language, namely the twelve tones of the musical scale. This statement speaks to the characteristic of reality-- though Babbitt would generally argue that a musical reality is fixed and explainable by scientific language, he does acknowledge that neither science nor music is stable enough for the former to explain the latter. I return to the question of whether the modern and postmodern paradigm is worth applying to other works of musical theory, analysis, and metatheory. http://www.arlduc.org/word/PostmodernityMusic.html   (2517 words)      H-France Reviews Yet, thanks to the Singer fortune, a propitious marriage to Prince Edmond de Polignac, and her discerning ear for nascent talent, Winnaretta would ultimately establish a reputation for herself in mondain and avant-garde circles as the grande mécène of musical modernism. As Kahan writes, “Winnaretta’s prescience in her choice of musical and artistic projects was remarkable: she always seemed to be one step ahead of musical trends” (p. In 1934, for example, Winnaretta commissioned musical works from Ezra Pound and Olga Rudge to be performed at her residence in Venice. http://www.h-france.net/vol4reviews/mansker.html   (1854 words)      Amazon.com: Frida [ENHANCED] [SOUNDTRACK]: Music Her story is brought to the screen by director Julie Taymor, whose musical compatriot here is also her husband; Elliot Goldenthal, student of both Copland and Corigliani, shrewdly sublimates his modernism in service of the rich, evocative music and songs of Mexico and Central America. Central to Goldenthal's score is a core musical ensemble which consists of several acoustic instruments native to Mexico and Central America, including the standard classical guitar, small Mexican guitar (la vihuela), Mexican bass guitar (guitarron), Mexican harp, marimba, accordion, glass armonica and assorted percussion. The enhanced CD features include musical film excerpts, as well as a video conversation between Goldenthal and star Salma Hayek and text interviews with the composer and director Taymor. http://www.amazon.com/exec/obidos/tg/detail/-/B00006LLNV?v=glance   (1798 words)      Finnish music in a nutshell — Virtual Finland The most recent boom period in Finnish music began in the early 1970s, with older composers writing operas and younger composers establishing Modernism as part of the musical mainstream. Bourgeois musical life emerged in the late 18th century, prompting the establishment of public concerts: the Academic Capell [orchestra] (1747) and the Turku Musical Society (1790) were founded in Turku. Until the late 1920s, the musical tastes of the public at large were much more influenced by the concerts given all around the country by Oskar Merikanto (1868-1924) - a musical factotum who was a pianist, an organist, a conductor, a composer and a critic. http://virtual.finland.fi/finfo/english/finmusic.html   (3680 words)      ISAM Newsletter: Ruth Crawford Seeger Festival Ironically, by then the musical world had changed dramatically and her brand of modernism was ultra-modern no longer, having been supplanted by the still more radical music of the post-Webern generation in both Europe and America. Crawford’s “heterophony,” operating between musical lines and between musical domains, has radical implications for musical form. In a broader sense, Crawford’s heterophony pointed ahead to the music of Cage and other “post-modern” composers who celebrate the independence of musical events from any subsuming context. http://depthome.brooklyn.cuny.edu/isam/rcstraus.html   (1305 words)      modernism literary - Books, journals, articles @ The Questia Online Library A bundle of separate and discrete modernisms, literary, musical, and so forth, remained, still omnipotent in the institutional compounds in which they were ensconced... ...two of the most prominent literary magazines of the turn of the...Dario and the development of modernism were faced with a vexatious...was to free art from Spanish literary conventions and cliches. ...conspicuously embraced by modernism in the literary arts were so...to accommodate modernisms battle of the...place in Moores literary oeuvre akin to...to accommodate modernisms battle of the...little magazines" literary quarterlies and... http://www.questia.com/search/modernism-literary   (1305 words)      Central Europe Review - Music: Gyorgy Kurtag The possibility of a non-German musical style incorporating the scales and modes of folk music and the new devices of modernism began to be realised by Kodály, Bartók, and other composers in the first decade of the twentieth century. Nevertheless, the task of establishing a new musical style that had the power to break the hegemony of German music in Hungary was accomplished mainly as a result of Kodály's ability to see beyond the obvious and to plough new ideas into the musical life of his country. Kodály recognised the potential of the musical innovations of Debussy for the development of new music in Hungary and pointed Bartók and others of his colleagues in the direction of France as a source for new inspiration. http://www.ce-review.org/00/12/bagust12.html   (1556 words)      Central Europe Review - Music: Gyorgy Kurtag The possibility of a non-German musical style incorporating the scales and modes of folk music and the new devices of modernism began to be realised by Kodály, Bartók, and other composers in the first decade of the twentieth century. Nevertheless, the task of establishing a new musical style that had the power to break the hegemony of German music in Hungary was accomplished mainly as a result of Kodály's ability to see beyond the obvious and to plough new ideas into the musical life of his country. This demonstrates the fact that for Kodály, the music of the peasant songs was his 'mother tongue', a musical language he had learned as a child that had developed into maturity through his intensive research into Hungarian folk music. http://www.ce-review.org/00/12/bagust12.html   (1556 words)      20th century classical music - Wikipedia, the free encyclopedia His music not only rested on his argument that there was no "music" or "noise" only "sound", and that combinations of found sound were musical events as well - but on the importance of focusing of attention and "framing" as essential to art. Modernism took the progressive spirit of the late 19th century, its love of rigor and of technical advancement, and unhinged it from the norms and forms of late 19th century art. This strain of modernism looks backward to the dada school of art exemplified by Duchamp, and to the collage of "concrete" music, as well as experiments with electronic music by Edgar Varèse and others. http://en.wikipedia.org/wiki/20th_century_classical_music   (1556 words)      Dissonance - Pictures Despite the fact that this idea of the historical progression towards the acceptance of ever greater levels of dissonance is somewhat oversimplified and glosses over a great number important developments in the history of western music, the general idea was attractive to many 20th-century modernist composers and is considered a formative meta-narrative of musical modernism. Dissonance has been understood and heard differently in different musical traditions, cultures, styles, and time periods. Other musical styles consider this sound to be an attractive part of the musical timbre and go to equally great lengths to create instruments that have this slight "roughness" as a feature of their sound. http://www.greatestinfo.org/Dissonance   (1556 words)      Little Women, a CurtainUp review Audiences have responded positively to the music that's been described as Puccini-esque and with arias that "slip effortless from slithery, shimmering modernism to Bernstein, Gershwin, Rossini, Lehar." I wish this contemporary musical version the same sort of success. Little Women, the musical, might best be described as a comfort food show, with nostalgic pleasures that transcend any critical evaluation. With just ten actors and a dozen musicians in the pit Little Women is a chamber musical but with all the elements of a big show: a Tony-winning star, a director with prime Broadway show credentials, a top caliber creative team and the usual multi-million capitalization. http://www.curtainup.com/littlewomen.html   (1224 words)      Strauss, Richard on Encyclopedia.com These works—including Till Eulenspiegels lustige Streiche (1895); Thus Spake Zarathustra (1895), after Nietszche; Don Quixote (1898), a tone poem in the form of variations with a cello solo; and A Hero's Life (1898)—were violently both lauded and damned as the very essence of musical modernism. Strauss served briefly as head of musical affairs (Reichsmusikkammer president) under the Nazis; he was officially exonerated of collaboration in 1948. Son of a celebrated horn player, he had extensive musical instruction and began composing as a child of six. http://www.encyclopedia.com/html/s/straussr1.asp   (947 words)      mto.97.3.5.hermann.rev Reflexive Postmodern Anthropolgy Meets Musical "Modernism": Georgina Born's *Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde*. This ethnographic study is set against a discursive characterization of modernism and postmodernism in music. In one case involving an IRCAM brand of postmodernism, Born has done just that (pp.300-04); however in Born's book, these broad aesthetic terms suffer from equivocation or lack of contrast because the various "dialects" of these aesthetic positions are either not systematically defined, referred to, or related to one another. http://www.societymusictheory.org/mto/issues/mto.97.3.5/mto.97.3.5.hermann.rev   (6314 words)      Ruth Crawford-Seeger - Wikipedia, the free encyclopedia Hisama, Ellie M. Gendering Musical Modernism: The Music of Ruth Crawford, Marion Bauer, and Miriam Gideon. Institute for Studies in American Music (ISAM) Newsletter: Ruth Crawford Seeger's Contributions to Musical Modernism  ( http://depthome.brooklyn.cuny.edu/isam/rcstraus.html) by Joseph N. Straus, Fall 2001 Volume XXXI, No. 1 Michael Seeger, Peggy Seeger Barbara, and stepson Pete Seeger, while writing works inspired by or harmonizing http://en.wikipedia.org/wiki/Ruth_Crawford-Seeger   (6314 words)      Ruth Crawford-Seeger - Wikipedia, the free encyclopedia Hisama, Ellie M. Gendering Musical Modernism: The Music of Ruth Crawford, Marion Bauer, and Miriam Gideon. Institute for Studies in American Music (ISAM) Newsletter: Ruth Crawford Seeger's Contributions to Musical Modernism by Joseph N. Straus, Fall 2001 Volume XXXI, No. 1 Initially influenced by Alexander Scriabin, in the twenties and early thirties Crawford-Seeger wrote atonal works based on the music of Schoenberg, her teacher then husband Charles Seeger's dissonant counterpoint, and methods of her own devising. http://en.wikipedia.org/wiki/Ruth_Crawford-Seeger   (6314 words)      Amazon.com: Music: Crawford: 9 Preludes, Beyer: Dissonant Counterpoint Traveling in musical circles that included composer-pianist Henry Cowell, the two women were vital in their generation's forging of a new musical idiom--one that shaped American music in the 1920s, 1930s, and beyond. Composed between 1924 and 1928, Ruth Crawford Seeger's Nine Preludes chart the path to maturity of a composer whose work at the turn of the 1930s had almost reclaimed its place as a vital part of inter-war Modernism. An important new recording of Ruth Crawford's (1901-1953) transcendental "Nine Preludes" and "Piano Study in Mixed Accents," and the premiere recording of "Dissonant Counterpoint" and "Gebrauchs-musik" by Johanna Beyer (1888-1944), a revolutionary but tragically neglected figure in American modernism. http://www.amazon.com/exec/obidos/tg/detail/-/B00005J72N?v=glance   (6314 words)      MUSIC Doctoral Program at the CUNY Graduate Center: Ellie Hisama Gendering Musical Modernism: The Music of Ruth Crawford, Marion Bauer, and Miriam Gideon. Her book, Gendering Musical Modernism: The Music of Ruth Crawford, Marion Bauer, and Miriam Gideon, was recently published by Cambridge University Press. Institute for Studies in American Music, she is the editor of the ISAM Newsletter, and she has chaired an international conference celebrating the centennial of the experimental composer and folk music activist Ruth Crawford Seeger that was held at the Graduate Center and Brooklyn College. http://web.gc.cuny.edu/Music/faculty/hisama.html   (425 words)      Mus 386 - 20th Century Music Students will develop an understanding of how the ideas that define expressionism, impressionism, minimalism, modernism, nationalism, and post-modernism, among others, contribute to the climate in which composers write music. Course overview and objectives: The class will survey the the aesthetics, critical theory, musical style, and technology of 20th and 21st century concert music. Outcome: At the end of the quarter, students will have a strong overview of the major musical streams of the 20th century and knowledge of the cultural, historical, and philosophical ideas that influenced these streams. http://www.cwu.edu/~polishoo/Mus_386   (437 words)      Fuchs, Symphony No. 3 While Fuchs was undoubtedly not a musical progressive, his apparent conservatism is not simply a reflection of a refusal to stay "up to date" or an eschewal of the trappings of musical modernism. Unlike Mahler and Zemlinsky, to say nothing of Schoenberg, Fuchs did not partake of the tradition–which stemmed from Schopenhauer and Wagner–that understood music as an expression of metaphysical meanings or deep symbolism and, not incidentally, was the source of many of the most important musical innovations in the later nineteenth century. Fuchs does not take up the gauntlet nearly so boldly, but the Finale of this symphony (which is also set in a clear sonata form) is a bit more dramatic and rhetorical than are the preceding movements. http://www.americansymphony.org/dialogues_extensions/98_99season/6th_concert/fuchs.cfm   (955 words)      Music and Metropolis: Recontextualizing Krenek and Weill, London, November 2000 Conceived in part as a commemoration, in part as a means of drawing musicological attention to the significance of the modern urban landscape in shaping the production and reception of 20th century musical modernism, this one-day conference will explore music theatre works of both composers from the 1920s to the mid 1930s. Royal Musical Association One-Day conference in association with King’s College Institute of Advanced Musical Studies King’s College, London Saturday 25th November 2000 Just as Lang’s iconic film Metropolis (1926) is a futuristic vision set around the year 2000, the conference will, furthermore, consider whether any significant conclusions can be drawn from revisiting the music and ideas of Krenek and Weill for our own times. http://www.sun.rhbnc.ac.uk/Music/Conferences/00-b-mam.html   (955 words)

	About us   |  Why use us?   |  Press   |  Contact us Copyright © 2005 ArtRetriever.com Usage implies agreement with terms.