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| | Neoclassicism (music) - Wikipedia, the free encyclopedia |
 | | Sergei Prokofiev's Symphony No. 1 (1917), which remains one of his most popular works, is generally considered to be the composition that first brought this renewed interest in the classical music era in audible form to a wide public. | | | However, in the use of modern instrumental resources such as the full orchestra, which had greatly expanded since the 18th century, and advanced harmony, neoclassical works are distinctly 20th century. | | | Igor Stravinsky composed some of the best known neoclassical works — in his ballet Pulcinella, for example, he used themes which he believed to be by Giovanni Pergolesi (it later transpired that many of them were not, though they were by contemporaries). |
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http://en.wikipedia.org/wiki/Neoclassicism_(music)
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| | American Symphony Orchestra Dialogues & Extensions 2003-04 |
| | Neoclassicism, or the deliberate use of antique models in music that predate romanticism, represented a critical reaction by these composers to their own culture and historical period, and had much broader philosophical implications than one might at first think. | | | In attempting to disengage his music from politics and the characteristics of the moment, he fell headlong into them, perhaps showing quite poignantly the impossibility of ever composing music that is completely without politics. | | | Music emerged as an instrument of individual and collective subjective consciousness, which is why it could be appropriated by nationalism. |
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http://www.americansymphony.org/dialogues_extensions/season/dialogue_detail.cfm?ID=3&season=2003-2004
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| | Music Glossary [M.Tevfik Dorak] |
| | Neoclassicism: The musical movement of the post first world war period aiming to revive the musical forms and textures of the pre-Romantic era. | | | Their music was passed down orally and it is all about chivalric ideals of the period (courtly love and the idealization of women). | | | This chromatic fourth was also used in instrumental music as the ostinato in Biber's Passacaglia in G minor. |
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http://members.tripod.com/~dorakmt/music/glossary.html
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| | Neoclassical aspects of form in the music of Erik Satie |
| | Erik Satie grew up in close contact with the music of the salon and the music-hall, which his father published, and with mediaeval church chant, which was still performed in the church of his native town of Honfleur. | | | This shows that neoclassicism is well and truly about more than simply putting the music of the eighteenth century to work again in the twentieth. | | | The music itself is quite different to that of a traditional set of variations because of these differences, but the idea behind Satie’s work is essentially the same as that behind a classical or romantic composer’s theme and variations. |
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http://www.comcen.com.au/~carowley/msa.htm
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| | The Music of Beethoven: A Chronicle of Revolution |
| | The Seventh was a triumph for Romantic music, establishing it as a formidable and popular style for musical composition. | | | The two — his music and his surroundings — were always intertwined; a change in one was invariably represented by a change in the other. | | | This musical form is insufficient to express the true genius of Beethoven. |
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http://homepage.mac.com/cfriend/work/hum2/beethoven.html
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| | 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. | | | This ethnographic study is set against a discursive characterization of modernism and postmodernism in music. | | | We see that the problems with these aesthetic terms for music are many as these terms were not generated from music criticism, but rather from other cultural domains such as architecture, art criticism and literary criticism, among others. |
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http://mto.societymusictheory.org/issues/mto.97.3.5/mto.97.3.5.hermann.html
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| | Music |
| | Musical Encounters at the 1889 Paris World's Fair explores the ways in which music was used, appropriated, exhibited, listened to, and written about during the six months of the 1889 Exposition Universelle in Paris, thereby revealing the role and the sociopolitical uses of music in France and, more generally, Europe during the late nineteenth century. | | | Music and Musicians in the Escorial Liturgy under the Habsburgs, 1563-1700 | | | A systematic study of the visual arts as potential sources of historical documentation for the performing arts - music, drama and dance; also guidance on sources of images for the performing arts. |
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http://www.urpress.com/C.HTM
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| | Polish Music Journal 4.1.01 - Granat-Janki: The Music of Aleksander Tansman |
| | In his works he referred to the music of the composers creating the musical tradition of the epoch that he lived in, such as Albert Roussel, Darius Milhaud, Igor Stravinsky. | | | Tansman's music reveals a strong awareness of the ties with tradition to a similar extent as it could be noticed in the works composed by Igor Stravinsky, Darius Milhaud or Arthur Honegger. | | | Tansman's music could be described as being more "neo-Baroque" than "neo-classical." Baroque traditions are also expressed in Tansman's works by his use of polyphony. |
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http://www.usc.edu/dept/polish_music/PMJ/issue/4.1.01/granatjanki.html
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| | The Sinfonia Giocosa (1990) by Teisutis Makacinas: Neoclassicism and the Folkloric - Arias |
| | The term Neoclassicism was first used in the present sense by Boris de Schloezer in a review of a concert given in 1923 and organized by Jean Wiener. | | | In 1973 he became the head of the music theory and composition department at the Lithuanian Conservatory. | | | In the twentieth century, Neoclassicism is most closely associated with the compositions of Stravinsky and Hindemith. |
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http://www.lituanus.org/1999/99_4_04.htm
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| | Klassiks' Classics - A Brief History of Classical Music - 20th Century |
| | Many American composers have embraced the principles of neoclassicism, largely as a result of their years of study in Paris with the French composer-teacher Nadia Boulanger. | | | In the first decade of the century, largely as a result of extreme chromaticism, atonality, or the complete absence of tonality, occurred in the music of a few composers. | | | In the early 1920s Schoenberg devised the twelve-tone method of writing atonal music. |
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http://www.geocities.com/Vienna/Strasse/7645/original/History/20c.html
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| | Finnish Music Information Centre |
| | Englund cultivated traditional genres in his piano music, as represented by the sonata (1978) and two sonatinas (1966, 1984) and two-movement works such as the aforementioned "Introduzione e toccata", "Pavane e toccata" (1983) and "Preludium and Fughetta" (1986). | | | As the subtitle “Jeux pianistiques sur les touches blanches” shows, this is music for the white keys, from which the composer never once strays. | | | To a considerable degree, his stylistic development is reflected in his piano music. |
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http://www.fimic.fi/fimic/fimic.nsf/82c219a4e9e6055e422566c0004a78d3/648cb108d83611dbc225677c003b1d12!OpenDocument
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| | OhioLINK ETD: MINOR, JANICE |
| | In general, their music represents a strong reaction against the German romanticism of Richard Wagner and Richard Strauss, as well as the impressionism of Claude Debussy. | | | As many artists, particularly in France, sought a return to simplicity, the drama and emotions of romanticism, as well as the luxuriousness of impressionism was rejected. | | | As stylistic changes occurred after the war in many European countries, non-western countries and the United States, Paris became an important center for music, art and literature. |
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http://www.ohiolink.edu/etd/view.cgi?ucin1092930641
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| | UI393 |
| | This course will examine Modernism in music and culture through an in-depth study of thirteen masterpieces of music in the context of their times. | | | By studying this music and the cultural developments of the era, the student will gain perceptions from both the disciplines of Artistic Expression and of Development of a Major Civilization. | | | Music, the Arts and Ideas., Patterns and Predictions in Twentieth-Century Culture. |
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http://www2.semo.edu/provost/courses/UI393.htm
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| | Vlastos, George (2005) |
| | Hence, the literary movements of Parnassism, Symbolism, as well as the aesthetic trend of the revival of the fêtes galantes and the general decadent style of the esprit fin-de-siècle, are examined in order to detect and to show off the main characteristics of their conception of Greek antiquity. | | | It is well known that Greek themes are widely used in the so-called period of French neoclassicism (during the 1920s) by composers such as: Erik Satie (Socrate), Darius Milhaud (L'Orestie, Les Malheurs d’Orphée, etc.), Arthur Honegger (Antigone, Amphion) and Igor Stravinsky (Oedipus Rex, Apollo Musagetes, etc.). | | | The "conception" as a notion concerns the reading and the comprehension of elements of Greek antiquity taken from its mythological tradition and its literature, as well as the codification of those elements in music composition. |
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http://www.sun.rhbnc.ac.uk/Music/Archive/Disserts/vlastos.html
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| | OUP: Making Music Modern: Oja |
| | In this pathbreaking study, Carol J. Oja explores this artistic renaissance from the perspective of composers of classical and modern music, who along with writers, painters, and jazz musicians, were at the heart of early modernism in America. | | | Places American music in the 1920s in the context of parallel developments in the visual arts and literature | | | Drawing on extensive archival material--including interviews, correspondence, popular periodicals, and little-known music manuscripts--Oja provides a new perspective on the period and a compelling collective portrait of the figures, puncturing many longstanding myths. |
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http://www.oup.co.uk/isbn/0-19-516257-9
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| | Music 344—Encounter 6 |
| | In this early phase of her career, her music steers a modernist course that incorporates influences from Skryabin, the neoclassicists, and the twelve-tone school, yet remains individual. | | | Neoclassicism and Twelve-Tone, Music and Politics, The New Nationalism | | | A number of composers, arrangers, and performers on both sides of the classical/jazz fence created music in this idiom, especially in the 1950s when jazz came to be regarded as an almost respectable art form (why then?). |
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http://www.elmhurst.edu/~markh/history2/6Encounter344.htm
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| | Music 250 Exams |
| | Why is it important to the development of European music? | | | In what ways was the social and cultural setting for Soviet music fundamentally different from that of England or France? | | | In what ways does Bartok's music draw upon his Hungarian roots? |
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http://www.sonoma.edu/users/j/johnsonw/music_250/250_exam_3_review.html
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| | neoclassicism question |
| | The Oxford does tie it to the eighteenth century, however: "Of, pertaining to, or characteristic of a style of art, architecture, music, literature, etc., that is based on or influenced by classical style or by a style that has become established as ‘classical’; spec. | | | of such a style in 18th-century literature, late-18th-century art and architecture, or 20th-century music." | | | Turning more specifically to literature, Cuddon's Dictionary of Literary Terms says, "The Neo-classic period is usually taken to be the hundred-odd years c. |
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http://www.stthomasu.ca/~hunt/33360102/neoclass.htm
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| | [No title] |
| | Stravinsky's most obvious homage to Mozart's time is his 1951 opera ``The Rake's Progress.'' Set in the 18th century, the work abandons the continuous flow of music common in opera since Richard Wagner's revolutionary 19th-century efforts. | | | Stravinsky's first extended Neoclassial work - and he never used that label - was the 1919 comic ballet ``Pulcinella.'' Impressario Sergei Diaghiiev asked Stravinsky to fashion a ballet from pieces by the 18th-century composer Giovanni Pergolesi. | | | Diaghilev and the public soon overcame their shock, and for the next 30 years most of Stravinsky's works drew at least some inspiration from 18th-century ideals. |
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http://www.azstarnet.com/public/packages/reelbook/153-4062.htm
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| | MUHL 588 (Harley) -- Bartok, Bacewicz, Lutoslawski |
| | This course presents new insights into the music of three composers whose East European backgrounds and cultural orientations differ, yet whose music has similar traits. | | | The study of topics in the output of each of the composers will be accompanied with work on an Internet publication project. | | | Students working on individual pieces will discuss the music, while students preparing bibliographical entries will focus on one period (e.g. |
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http://www.usc.edu/go/polish_music/harley/588.html
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| | Gregory Hall, Nonpop New Music Composer |
| | I became a composer at the age of fifteen, after about five years of musical training as a pianist. | | | Read Notes On Music For A 21st Century Baroque, an essay by the composer (in preparation). | | | After swimming around in something like romanticism, I became interested in neoclassicism during my stay at UC Santa Barbara, where I received my B.A. in music. |
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http://kalvos.org/hallgre.html
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| | HS 180: Revolution in the Arts |
| | Cubism in Art and the Music of Stravinsky | | | Realism in Art and the Music of Verdi or Wagner | | | Monday Art: Picasso and the Development of Cubism |
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http://www.coloradocollege.edu/FYE/Courses/GraceHS180.htm
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| | Find Neoclassicism at myEweb.com |
| | Neoclassicism defined with images of examples from art history, great quotations, and links to other resources. | | | Tour: 18th- and 19th-Century France - Neoclassicism Overview back to gallery | | | NGA - 18th- and 19th-Century France - Neoclassicism |
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http://myeweb.info/web/index.php?qry_str=Neoclassicism
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| | Music 2243: Reports |
| | Chamber Music: Unusual Instruments and Unusual Instrumental Combinations: odd-cham.doc | | | Opera: Beethoven, Fidelio; Other Composers; Origins of the Romantic Style in Weber and his Contemporaries: fidelio.doc/ weber.doc | | | Chamber Music in the USA in the Clasical Period |
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http://plato.acadiau.ca/courses/musi/Callon/2243/reports.htm
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| | HUMN 1020 Art/Music Lecture Schedule |
| | Art: Twentieth-Century Art II Art: Twentieth-Century Art III | | | Music: Romantic I (Period Intro, Art Song) (Read: pp.264-282; Listen: Schubert) | | | Music: Class Intro, Materials I (Style and Context, Musical Sound, Rhythm) (Read: pp.61-65, 33-37, 6-12, 29-32, 58-60; Listen: Britten, |
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http://spot.colorado.edu/~jonesdc/HUMN1020/schedule.htm
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| | The World of Music Chapter Overview |
| | Avant-garde music, the music of the experimentalists, is presented as a necessity of any age for music to progress. | | | World music has had significant impact on the thinking and the music of many modern composers. | | | Totally controlled music is discussed as an advanced form of serial technique and as applicable to the process of electronic music composition. |
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http://highered.mcgraw-hill.com/sites/0072491507/student_view0/chapter14/chapter_overview.html
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| | Neoclassicism (music) - MSN Encarta |
| | Neoclassicism (music), in music, a term most often referring to music that was composed between the two world wars and that avoided the exaggerated... | | | Become a subscriber today and gain access to: |
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http://encarta.msn.com/encyclopedia_761566164/Neoclassicism_(music).html
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| | New Additions for Theater (University of Oregon Libraries) |
| | New York, N.Y. : Musical Heritage Society, [1968] | | | L'Aiglon [sound recording]: drame musical d'apres la piece d'Edmond Rostand / musique, Arthur Honegger et Jacques Ibert; sur un livret d'Henri Cain | | | Multiple masks: neoclassicism in Stravinsky's works on Greek subjects / Maureen A. Carr |
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http://libweb.uoregon.edu/guides/theater/newbooks/archive/2003-04.html
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Topic: Neoclassicism (music)