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| | Modernism - Wikipedia, the free encyclopedia |
 | | Modernism (music): 20th century classical music - Atonality - Jazz | | | Composers such as Schoenberg, Stravinsky, Poulenc and George Antheil represent modernism in music. | | | Modernism is a cultural movement that generally includes the progressive art and architecture, music, literature and design which emerged in the decades before 1914. |
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http://en.wikipedia.org/wiki/Modernism
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| | 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). | | | Postmodern music is both a musical style and a musical condition. | | | As a musical condition, postmodern music is simply the state of music in postmodernity, music after modernity. |
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http://en.wikipedia.org/wiki/Postmodern_music
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| | the evangelical outpost: Modernism to Eleven:
Is Postmodernism a Myth? |
| | To jump on the music analogy bandwagon: Modernism is like a rock band where each member of the band is a maestro on his respective instrument. | | | Modernism is like a rock band where each member wants to drown the others out, but never sets his amp above ten (of twenty) because any more will blow the speakers; the postmodernist is the first one to give the band the finger and push his volume to eleven. | | | Modernism has been the *enemy* of Biblical Christianity, which is why I continue to identify much more strongly with my Fundamentalist forebears (who knew this well) and my evangelical brethren (who have been fishy on the point), even though I am more acculturated to the broader evangelical way of life, now. |
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http://www.evangelicaloutpost.com/archives/001321.html
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| | 20th century classical music - Wikipedia, the free encyclopedia |
| | 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. | | | Neo-classicism, in music, means the movement in the 20th century to return to a revived "common practice" harmony, mixed with greater dissonance and rhythm, as the basic point of departure for music. | | | Minimalistic music is often contentious amongst traditional listeners. |
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http://en.wikipedia.org/wiki/20th_century_classical_music
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| | Oberlin College Course Catalog |
| | Included will be a comparison of two contrasting modes of musical behavior: music that evolved out of an orientation toward the rational-mathematical/ technological ("Modernism"); and music directed by those forces we speak of as irrational or intuitive ("Postmodernism"). | | | An analytical course on the music of Igor Stravinsky. | | | A course in the rudiments of music including: clefs; notation; transposition; meters and their signatures; intervals; scales and modes; triads and seventh-chords; introduction to figured-bass. |
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http://www.oberlin.edu/catalog/con/music_theory.html
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| | 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. | | | Her specialties include post-tonal theory, music by women composers, popular music, and the social and political roles of American music. |
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http://web.gc.cuny.edu/Music/faculty/hisama.html
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| | Postmodern music - Wikipedia, the free encyclopedia |
| | As a musical style, postmodern music contains characteristics of postmodern art âthat is, art after modernism (see Modernism in Music). | | | Postmodern music is both a musical style and a musical condition. | | | As a musical condition, postmodern music is simply the state of music in postmodernity. |
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http://en.wikipedia.org/wiki/Postmodern_music
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| | beverley.990 |
| | Modernism in music, say the infinitely compressed fragments of late Webern, is the perception in the midst of the bad trip, of dissonance, of a momentary cohesion and radiance, whose power is all the greater because it shines out of chaos and evil. | | | What it implies is that the listening subject is to compose from the very absence of music the music, the performance from the frustration of the expected performance. | | | Beethoven's music is as much a part of the revolutionary emancipation of the bourgeoisie as it anticipates the latter's apologia. |
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http://www3.iath.virginia.edu/pmc/text-only/issue.990/beverley.990
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| | 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. | | | The range of music festivals is extensive, including the Savonlinna Opera Festival, the Kaustinen Folk Music Festival, the Kuhmo Chamber Music Festival, Pori Jazz, the Lahti Organ Festival, the Helsinki Festival, the Joensuu Song Festival, the Naantali Music Festival, the Turku Music Festival, the Korsholma Music Festival and the Suvisoitto festival in Porvoo. | | | 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. |
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http://virtual.finland.fi/finfo/english/finmusic.html
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| | 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. | | | Culture - Modernity and the Avant-Garde in Romanian Music, 1920-1940 |
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http://www.prodlogsys.ici.ro/romania/en/cultura/m_muz2.html
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| | pmc-v4n1-herman-fear.txt |
| | Straw, W. "Music Video in Its Contexts: Popular Music and Post-Modernism in the 1980's." _Popular Music_ 7.3 (1988). | | | I. Fear of Music: Postmodernism and Music Television [1] The first time I heard the terms "postmodernism" and "the postmodern" was at the "Marxism and Interpretation of Culture Conference" at the University of Illinois during the torpid summer of 1983. | | | They are part of a "current fashion for conflating the specificities of different media and genre into a ragbag category of 'postmodernism' that does injustice in equal measure to both the conceptual field [i.e., postmodernism] and the object of study [i.e., music television]" (17). |
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http://www.infomotions.com/serials/pmc/pmc-v4n1-herman-fear.txt
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| | MUSIC Doctoral Program at the CUNY Graduate Center: Joseph Straus |
| | Remaking the Past: Musical Modernism and the Influence of the Tonal Tradition. | | | Joseph Straus is a music theorist specializing in music of the twentieth century, with research interests that include set theory, voice-leading in post-tonal music, the music of Stravinsky, and the music Ruth Crawford Seeger. | | | "The Recompositions of Schoenberg, Webern, and Stravinsky," in The Musical Quarterly 72/3 (1986), 301-28. |
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http://web.gc.cuny.edu/Music/faculty/straus.html
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| | New College |
| | Experimental music came about as an outgrowth of modernism, a movement in which the authority of tradition is weakened and undermined," he explained. | | | Pendulum Music is the perfect example of this." | | | Miles says this is due in large part to their form and to the musical theory underlying each. |
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http://www.ncf.edu/publicaffairs/Documents/nmnc_long.htm
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| | Modernism Bloomed From the PALM of Society |
| | Modernism was a movement and phenomena that left its signature in psychology, art, literature, and music. | | | Stravinsky earned the title of “Modern Music Genius” in composing the modern ballet Rite of Spring. | | | This phenomena “Modernism” began in Europe around 1880, and eventually surfaced in America, where it was known as the Anglo American Period, in the late eighteen hundreds, and its denouement began around the beginning of WWII. |
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http://homepages.udayton.edu/~santamjc/winter2000-1
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| | pomo.html |
| | Modernism, as you probably know, is the movement in visual arts, music, literature, and drama which rejected the old Victorian standards of how art should be made, consumed, and what it should mean. | | | Modernism has two facets, or two modes of definition, both of which are relevant to understanding postmodernism. | | | Modernism, for example, tends to present a fragmented view of human subjectivity and history (think of The Wasteland, for instance, or of Woolf's To the Lighthouse), but presents that fragmentation as something tragic, something to be lamented and mourned as a loss. |
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http://www.colorado.edu/English/ENGL2012Klages/pomo.html
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| | 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. | | | The amalgamation of folk music and western 'art' music in the compositions of Béla Bartók is well known. | | | 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. |
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http://www.ce-review.org/00/12/bagust12.html
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| | 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. | | | In "Contemporary Music," this is an overriding concern of Babbitt's. | | | By considering these paradigms as they make their own musical examinations, music theorists and analysts might make music theory more "properly a part of that activity as it is characterized by the most central, crucial, widely, and deeply discussed issues of our intellectual time" (Babbitt, "Contemporary Music," 157). |
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http://www.arlduc.org/word/PostmodernityMusic.html
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| | Ikolo: Mali's Oumou Sangare |
| | Yet the relative modernism of Wassoulou music and the immense contribution of Sangare's work to its escalating popularity make this retrospective not only necessary but also timely. | | | While the dominant music in Mali remains the ancient tradition of praise singing, a host of modern regional sounds have emerged in the evolution of the country's popular music to challenge the near hegemony enjoyed by this tradition. | | | The Wassoulou region of South Western Mali is home to a modern Malian traditional sound, which is gaining ground in popularity at home and abroad, under the aegis of a powerful cadre of female entertainers whose music has defined the genre. |
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http://www.africana.com/reviews/music/mu20040211oumou.asp
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| | UNESCO Collection of Traditional Music of the World: Central African Republic |
| | Since our rediscovery of their music, the modernism of their art of counterpoint, polyphony and polyrhythmic sound never ceased to astonish us. | | | The ancient Egyptians were the first to recognize the musical gifts of the Pygmies. | | | UNESCO Collection of Traditional Music of the World |
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http://www.unesco.org/culture/cdmusic/html_eng/caf.shtml
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| | COMMENTARY / Modernist music masters flail their batons at evil music critics |
| | The founding myth of modernism, dating back to the "Music of the Future" propounded by Liszt and his followers and later codified by Schoenberg, was that this was music too "advanced" for any but a handful of contemporary listeners. | | | Wuorinen's music and that of other similarly oriented composers has yet to make a dent in the culture at large, or in the consciousness of music lovers. | | | And Levine, who this year began as music director of the Boston Symphony with a veritable orgy of knotty modernist scores, is now a high-profile champion. |
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http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2005/03/30/DDGSSBVQ641.DTL&feed=rss.entertainment
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| | Music of the 1960s |
| | The 1960s, however, was a remarkably vibrant time for concert music. | | | Our first instinct might be to say that the music on this program represents how marginal concert music became at that time, when it was eclipsed by popular music and culture. | | | No doubt there were rumblings about the obsolescence of the orchestra and acoustic concerts as old-fashioned, but the debate about the future of music was a debate about something vital and ongoing–not a nostalgic or conservative quarrel about a dying art form in need of resuscitation. |
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http://www.americansymphony.org/dialogues_extensions/98_99season/3rd_concert/leon.cfm
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| | Music After 1945 |
| | The musical equivalent of architecture's post-modernism is the use of musical styles and quotations from all periods of music. | | | In the mid-1960s he composed music that combined the rhythmic organization of Indian music with simple harmonic progressions and the amplification of rock music. | | | Conlon Nancarrow (1912–97) used the player piano to produce music that could not be performed by a human. |
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http://www.wwnorton.com/concise/ch22_outline3.htm
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| | classical music - andante - preview - salzburg festival |
| | The Vienna PO has long been the musical backbone of the festival; in addition to playing for orchestral concerts, it has also served as the opera orchestra, chamber orchestra for the serenade concerts, and for the sacred concerts. | | | The first important predecessor of the present-day Salzburg Festival was the 1877 music festival held by the Mozart-Stiftung. | | | classical music - andante - preview - salzburg festival |
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http://www.andante.com/profiles/salzburg/salzburgfestival.cfm
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| | 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. | | | Among the artists Saltzman lists for 'popular' music are: |
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http://www.cwu.edu/~polishoo/Mus_386
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| | JEWISH MUSIC INSTITUTE - Suppressed Music, Thwarted Voices |
| | The compositions of Schreker's Vienna period, up to Der Schatzgräber find the composer moving 'down market'—particularly in the changing way in which he was viewed in the critical discourse of musical modernism—from aspiring modernist to decadent sensualist, the purveyor of operatic sensationalism. | | | He performs as a pianist and violinist, he is professor of violin, chamber music and contemporary music at the Musikhochschule in Leipzig, he composes, and in 1995 he made his debut as a conductor. | | | She majored in music at Dartmouth College (Hanover, New Hampshire), and received a Master of Music degree from the New England Conservatory (Boston) on a double scholarship in voice and vocal accompaniment. |
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http://www.jmi.org.uk/suppressedmusic/thwarted_voices_2000.html
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| | 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. | | | The amalgamation of folk music and western 'art' music in the compositions of Béla Bartók is well known. | | | 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. |
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http://www.ce-review.org/00/12/bagust12.html
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| | Kramer: Classical Music and Postmodern Knowledge |
| | "By undercutting the foundations of this conceptual and representational order, postmodernism has made it necessary to rethink music from every possible perspective. | | | The force of this necessity stems from the perception that the resistance to signification once embodied by music now seems to be an inextricable part of signification itself. | | | "The purpsoe of this book uis to explore the new possibilities that postmodernist modes of thinking offer to the understanding of Western "classical" music and, by implication, of music in general. |
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http://www.duke.edu/~aparks/Kramer1.html
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| | Bloomsbury.com - Bookshop - Words and Music |
| | This is a book about music from the second century BC to 2003, from before then to after now, from the Italian Futurists to File Under Futurism, from the human voice to the processed vocoder, from 78 RPM to MP3, from the heat of early twentieth-century modernism to the chill-out of early twenty-first century lifestyling. | | | But the future of pop remains firmly in our hands, as Morley reminds us that without the listener, there can be no music. | | | Paul Morley, author of the acclaimed memoir Nothing (2000), takes us on a mesmerising journey into the mysterious heart of sound and words, of music and pop, being and nothingness. |
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http://www.bloomsbury.com/bookcatalog/productitem.asp?s=&sku=22042240&emailme=
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| | Klimt 1918 |
| | They are sons of post-modernism as Klimt1918, their music is a mixture of past and present. | | | Klimt 1918 is the brand new hope for rock/metal music. | | | I think a big issue of the today’s music industry is all the CD copies people do with their computers or the music they can download from the Internet. |
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http://www.grande-rock.com/klimt_1918.htm
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| | American Music: 1830 - 1865 |
| | Bayles examines the complex racial and sexual bloodknot of American culture, the transformation of pop music by technology, and the infection of modernism’s perverse anti-art. | | | Reproductions of the original sheet music for forty of Foster’s songs. | | | A survey and analysis of American popular music from its Afro-American roots through the rise of rock ’n‘ roll to the MTV era. |
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http://www.danpartner.com/history.html
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