The postmodern in music
Identifieur interne : 000084 ( Main/Exploration ); précédent : 000083; suivant : 000085The postmodern in music
Auteurs : James WierzbickiSource :
- Semiotica [ 0037-1998 ] ; 2011-02.
English descriptors
- Teeft :
- Admirable symbol, Agawu, American poet walt whitman, Atonal music, Aural fact, Cambridge companion, Canonic music, Central movement, Chamber orchestra, Classical music, Comfortable integration, Concert music, Contra mortem, Contrary motion, Cultural logic, Current musicology, Electronic music, Fatal illness, Fictional mozart, Film music, Gary tomlinson, George rochberg, Hesse, Humpty dumpty, Indiana university press, Jonathan kramer, Judy lochhead joseph auner, Kramer, Krims, Lachen lernen, Late capitalism, Lawrence kramer, Liner note, Liner notes, Magic theater, Michigan press, Modernism, Modernist, Monelle, Mozart, Multiple perspectives, Multiple semiologies, Music criticism, Music rochberg, Musical composition, Musical pasts, Musical postmodernism, Musical semiology, Musical semiotics, Musical studies, Musical time, Musicologist, Musicology, Nattiez, Nicholas cook mark everist, Oxford history, Oxford university press, Personal hell, Personal torture, Populist values, Postmodern, Postmodern attitude, Postmodern concepts, Postmodern condition, Postmodern culture, Postmodern knowledge, Postmodern music, Postmodern musicology, Postmodern person, Postmodern theory, Postmodernism, Postmodernist, Princeton university press, Quartet, Radio music, Rochberg, Romantic artist, Same lines, Schoenberg, Semiologia delle comunicazioni visive, Semiology, Semiotic, Semiotic essays, Semiotics, Single piece, Steppenwolf, String quartet, Struttura assente, Theorist, Third quartet, Tomlinson, Western music, Wierzbicki, William bolcom.
Abstract
“Postmodern” is an elusive concept that embraces a wide range of critical theories and attitudes. To borrow the assessment that the American poet Walt Whitman offered of himself, the concept is large and contains multitudes, various aspects of which often seem to be at odds with one another. Postmodern art likewise contains multitudes; indeed, it would seem that one of postmodern art's chief characteristics is the comfortable integration of apparently contradictory stimuli that, importantly, are sited less in the “work” itself than in the eye/ear/mind of the beholder. Grounded on the idea that postmodern music is defined not by composers but by listeners, this essay challenges musicological writing that since the early 1990s has sought both to illuminate an ideology of postmodernism and to identify elements of a postmodernist style. In particular, it counters the much-repeated statement that the first, and perhaps quintessential, example of musical postmodernism is the eclectic yet thoroughly linear and discursive 1972 Third String Quartet of the late American composer George Rochberg; the essay suggests that, if a prototype of the postmodern in music must be named, a better candidate would be Rochberg's palimpsest-like 1965 Music for the Magic Theater.
Url:
DOI: 10.1515/semi.2011.014
Affiliations:
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<front><div type="abstract" xml:lang="en">“Postmodern” is an elusive concept that embraces a wide range of critical theories and attitudes. To borrow the assessment that the American poet Walt Whitman offered of himself, the concept is large and contains multitudes, various aspects of which often seem to be at odds with one another. Postmodern art likewise contains multitudes; indeed, it would seem that one of postmodern art's chief characteristics is the comfortable integration of apparently contradictory stimuli that, importantly, are sited less in the “work” itself than in the eye/ear/mind of the beholder. Grounded on the idea that postmodern music is defined not by composers but by listeners, this essay challenges musicological writing that since the early 1990s has sought both to illuminate an ideology of postmodernism and to identify elements of a postmodernist style. In particular, it counters the much-repeated statement that the first, and perhaps quintessential, example of musical postmodernism is the eclectic yet thoroughly linear and discursive 1972 Third String Quartet of the late American composer George Rochberg; the essay suggests that, if a prototype of the postmodern in music must be named, a better candidate would be Rochberg's palimpsest-like 1965 Music for the Magic Theater.</div>
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