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Home / Why Did Surrealist Art and Jazz Music Become the Symbol of Early 20th Century Modernism?

Why Did Surrealist Art and Jazz Music Become the Symbol of Early 20th Century Modernism?

Changes in musical class during the early on 20th Century

In music, modernism is an artful stance underlying the period of change and development in musical language that occurred effectually the turn of the 20th century, a flow of diverse reactions in challenging and reinterpreting older categories of music, innovations that led to new ways of organizing and approaching harmonic, melodic, sonic, and rhythmic aspects of music, and changes in aesthetic worldviews in close relation to the larger identifiable period of modernism in the arts of the time. The operative word most associated with it is "innovation".[ii] Its leading feature is a "linguistic plurality", which is to say that no one music genre e'er assumed a ascendant position.[3]

Inherent within musical modernism is the conviction that music is not a static phenomenon defined by timeless truths and classical principles, only rather something which is intrinsically historical and developmental. While belief in musical progress or in the principle of innovation is not new or unique to modernism, such values are peculiarly important within modernist aesthetic stances.

—Edward Campbell (2010, p. 37) [emphasis added]

Examples include the celebration of Arnold Schoenberg's rejection of tonality in chromatic mail service-tonal and twelve-tone works and Igor Stravinsky'southward move abroad from metrical rhythm.[four]

Definitions [edit]

Musicologist Carl Dahlhaus describes modernism equally:

an obvious betoken of historical discontinuity ... The "breakthrough" of Mahler, Strauss, and Debussy implies a profound historical transformation ... If we were to search for a name to convey the breakaway mood of the 1890s (a mood symbolized musically past the opening bars of Strauss'south Don Juan) but without imposing a fictitious unity of style on the age, we could practise worse than revert to Hermann Bahr's term "modernism" and speak of a stylistically open-ended "modernist music" extending (with some latitude) from 1890 to the beginnings of our own twentieth-century modernistic music in 1910.[v]

Eero Tarasti defines musical modernism directly in terms of "the dissolution of the traditional tonality and transformation of the very foundations of tonal language, searching for new models in atonalism, polytonalism or other forms of altered tonality", which took place around the turn of the century.[6]

Daniel Albright proposes a definition of musical modernism as, "a testing of the limits of artful construction" and presents the following modernist techniques or styles:[7]

  • Expressionism
  • New Objectivity
  • Hyperrealism
  • Abstractionism
  • Neoclassicism
  • Neobarbarism (formless energy)
  • Futurism
  • Mythic method (cultivation of the prehistoric by)

Conductor and scholar Leon Botstein describes musical modernism equally "...a consequence of the fundamental conviction among successive generations of composers since 1900 that the means of musical expression in the 20th century must be adequate to the unique and radical grapheme of the age",[eight] which led to a reflection in the arts of the progress of science, technology and manufacture, mechanization, urbanization, mass civilisation and nationalism.

Periodization [edit]

Some writers regard musical modernism as an historical period or era extending from about 1890 to 1930, and apply the term "postmodernism" to the period or era after 1930.[9] [x] For Dahlhaus (quoted above), the purest form was over by 1910, simply other historians consider modernism to stop with one or the other of the two world wars.[11]

Other writers assert that modernism is not attached to any historical menses, but rather is "an attitude of the composer; a living construct that can evolve with the times".[12]

According to jazz drummer and bandleader Kenny Clarke, bebop was initially referred to equally "modern jazz" by himself and his contemporaries before it was co-opted to the proper noun "bebop" by other writers.[13]

Pop music [edit]

Cultural studies professor Andrew Goodwin writes that "given the confusion of the terms, the identification of postmodern texts has ranged across an extraordinarily divergent, and incoherent profusion of textual instances ... Secondly, there are debates within popular music nearly pastiche and authenticity. 'Modernism' ways something quite different within each of these two fields ... This confusion is obvious in an early formative effort to empathize stone music in postmodern terms".[14] Goodwin argues that instances of modernism in pop music are generally non cited considering "information technology undermines the postmodern thesis of cultural fusion, in its explicit endeavor to preserve a conservative notion of Art in opposition to mainstream, 'commercial' rock and pop".[15]

Modernism in popular music had been named as early as the belatedly 1950s when burgeoning Los Angeles stone and curl radio station KRLA started dubbing their air space "Mod Radio/Los Angeles". Writer Domenic Priore believes that: "the concept of Modernism was leap up in the very structure of the Greater Los Angeles expanse, at a time when the city was but beginning to come into its own as an international, cultural middle".[xvi] Some examples which presently followed include the elaborately arranged "River Deep – Mountain High" by Ike & Tina Turner (1966) and "Skillful Vibrations" by the Beach Boys (1966). Desiring "a gustatory modality of Mod, advanced R&B" for the latter's recording, grouping fellow member and vocal co-writer Brian Wilson considered the music "advanced rhythm and blues", but received criticism from his bandmates, who derided the rail for existence "too Modernistic" during its making.[17]

Art rock and progressive rock artists such as the Velvet Underground, Henry Cow, Soft Auto, and Hatfield and the Northward would afterwards exhibit modernist aspirations,[15] although Goodwin posits that progressive stone should be considered "anathema" to postmodernism.[18]

Meet also [edit]

  • Advanced music
  • Experimental music
  • History of music
  • List of modernist composers
  • Neoconservative postmodernism
  • Philosophy of music
  • Surrealist music

References [edit]

  1. ^ Dahlhaus 1989, pp. 331, 334.
  2. ^ Metzer 2009, p. 3.
  3. ^ Morgan 1984, p. 443.
  4. ^ Campbell 2010, p. 37.
  5. ^ Dahlhaus 1989, p. 334.
  6. ^ Tarasti 1979, p. 272.
  7. ^ Albright 2004, p. 11.
  8. ^ Botstein 2001.
  9. ^ Károlyi 1994, p. 135.
  10. ^ Meyer 1994, pp. 331–332.
  11. ^ Albright 2004, p. 13.
  12. ^ McHard 2008, p. 14.
  13. ^ Du Noyer 2003, p. 130.
  14. ^ Goodwin 2006, p. 441.
  15. ^ a b Goodwin 2006, p. 446.
  16. ^ Priore 2005, p. sixteen.
  17. ^ Priore 2005, pp. 16, 20, 48.
  18. ^ Goodwin 2006, p. 444.

Sources [edit]

  • Albright, Daniel. 2004. Modernism and Music: An Anthology of Sources. Chicago: Academy of Chicago Press. ISBN 0-226-01267-0.
  • Botstein, Leon. "Modernism". Grove Music Online edited by Laura Macy. (subscription required).
  • Campbell, Edward. 2010. Boulez, Music and Philosophy. Cambridge: Cambridge University Press. ISBN 978-0-521-86242-4.
  • Dahlhaus, Carl. 1989. Nineteenth-Century Music. Translated past J. Bradford Robinson. Berkeley: Academy of California Press.
  • Goodwin, Andrew (2006). "Popular Music and Postmodern Theory". In John Storey (ed.). Cultural Theory and Pop Civilization: A Reader. University of Georgia Printing. ISBN978-0-8203-2849-2.
  • Károlyi, Ottó. 1994. Mod British Music: The Second British Musical Renaissance—From Elgar to P. Maxwell Davies. Rutherford, Madison, Teaneck: Farleigh Dickinson University Printing; London and Toronto: Associated University Presses. ISBN 0-8386-3532-6.
  • McHard, James L. 2008. The Time to come of Modern Music: A Philosophical Exploration of Modernist Music in the 20th Century and Beyond, third edition. Livonia, Michigan: Iconic Press ISBN 978-0-9778195-1-5.
  • Metzer, David Joel. 2009. Musical Modernism at the Plow of the Twenty-first Century. Music in the Twentieth Century 26. Cambridge and New York: Cambridge University Press. ISBN 978-0-521-51779-9.
  • Meyer, Leonard B. 1994. Music, the Arts, and Ideas: Patterns and Predictions in Twentieth-Century Civilization, second edition. Chicago and London: University of Chicago Press. ISBN 0-226-52143-5.
  • Morgan, Robert P. 1984. "Secret Languages: The Roots of Musical Modernism". Critical Inquiry x, no. 3 (March): 442–461.
  • Du Noyer, Paul (2003). The Illustrated Encyclopedia of Music (1st ed.). Fulham, London: Flame Tree Publishing. ISBN1-904041-96-5.
  • Priore, Domenic (2005). Smile: The Story of Brian Wilson's Lost Masterpiece. London: Sanctuary. ISBN1-86074-627-6.
  • Tarasti, Eero. 1979. Myth and Music: A Semiotic Approach to the Aesthetics of Myth in Music, Especially that of Wagner, Sibelius and Stravinsky. Acta Musicologica Fennica 11; Religion and Society 51. Helsinki: Suomen Musiikkitieteellinen Seura; The Hague: Mouton. ISBN 978-90-279-7918-6.

Further reading [edit]

  • Albright, Daniel. 2000. Untwisting the Ophidian: Modernism in Music, Literature, and Other Arts. Chicago: University of Chicago Press. ISBN 0-226-01253-0 (cloth) ISBN 0-226-01254-nine (pbk).
  • Albright, Daniel. 2011. "Musical Motives". In The Cambridge Companion to Modernism, second edition, edited by Michael H. Levenson, 232–244. Cambridge and New York: Cambridge University Press. ISBN 1-107-01063-2 (material); ISBN 0-521-28125-3 (pbk).}}
  • Anon. n.d. "Poème electronique". The Electronic Music Foundation Constitute website (Annal, accessed 27 Feb 2012).}}
  • Ashby, Arved. 2004. "Modernism Goes to the Movies". In The Pleasure of Modernist Music: Listening, Meaning, Intention, Ideology, edited by Arved Ashby, 345–386. Eastman Studies in Music. Rochester, New York: University of Rochester Press. ISBN i-58046-143-3.
  • Bernstein, David W., John Rockwell, and Johannes Goebel. 2008. The San Francisco Record Music Center: 1960s Counterculture and the Avant-garde. Berkeley: University of California Press. ISBN 978-0-520-24892-two (cloth) ISBN 978-0-520-25617-0 (pbk).
  • Bohlman, Philip V. (ed.). 2009. Jewish Musical Modernism, Old and New. Chicago: Academy of Chicago Press. ISBN 978-0-226-06327-0.
  • Botstein, Leon. 1985. "Music and Its Public: Habits of Listening and the Crunch of Musical Modernism in Vienna, 1870–1914". Ph.D. thesis. Cambridge, Massachusetts: Harvard University.
  • Bucknell, Brad. 2001. Literary Modernism and Musical Aesthetics: Pater, Pound, Joyce, and Stein. Cambridge and New York: Cambridge University Printing. ISBN 0-521-66028-9.
  • Cavell, Stanley. 1976. "Music Discomposed", in his Must Nosotros Hateful What Nosotros Say? [ page needed ]. Cambridge and New York: Cambridge University Press. ISBN 0-521-29048-1 (textile), ISBN 0-521-21116-6 (pbk). Updated edition, New York: Cambridge University Printing, 2002. ISBN 0-521-82188-6 (fabric), ISBN 0-521-52919-0 (pbk).}} Cited in The Pleasance of Modernist Music, edited by Ashby (2004, 146 n13.) {{Full citation needed|date=June 2007|reason=Needs the writer and proper name of the contribution to Ashby's anthology.
  • Despić, Dejan, and Melita Milin (eds.). 2008. Rethinking Musical Modernism: Proceedings of the International Conference Held from Oct 11 to 13, 2007 / Muzicki modernizam—nova tumacenja : zbornik radova sa naucnog skupa odzanog od xi. do 13. oktobra 2007. Belgrade: Institute of Musicology. ISBN 978-86-7025-463-three.
  • Drury, Stephen. due north.d. "In a Landscape". stephendrury.com (Accessed 27 February 2012).
  • Duncan, William Edmondstoune. 1917. Ultra-Modernism in Music: A Treatise on the Latter-day Revolution in Musical Art. Schirmer'southward Reddish Serial of Music Text Books. London: Winthrop Rogers.
  • Earle, Benjamin. 2011. Luigi Dallapiccola and Musical Modernism in Fascist Italy. Cambridge: Cambridge University Press. ISBN 978-0-521-84403-i (cloth); e-book reprint 2013, ISBN 978-1-107-41638-3.
  • Everdell, William. 1997. "Arnold Schoenberg: Music in No Key". In The Starting time Moderns: Profiles in the Origins of Twentieth-Century Thought,[ page needed ] Chicago: University of Chicago Press. ISBN 0-226-22480-5 (textile); ISBN 0-226-22481-3 (paperback).
  • Ferneyhough, Brian. 1995. Collected Writings, edited by James Boros and Richard Toop. New York: Routledge. ISBN three-7186-5577-2.
  • Frisch, Walter. 2005. German Modernism: Music and the Arts. California Studies in 20th-century Music. Berkeley, Los Angeles, and London: University of California Press. ISBN 0-520-24301-three.
  • Griffiths, Paul. 1981. Mod Music: The Avant Garde since 1945. New York: George Braziller. ISBN 0-8076-1018-6 (pbk).
  • Guldbrandsen, Erling Eastward., and Julian Johnson (eds.). 2015. Transformations of Musical Modernism. Cambridge and New York: Cambridge University Press. ISBN 978-one-107-12721-0.
  • Harper-Scott, J. P. E. 2012. The Quilting Points of Musical Modernism: Revolution, Reaction, and William Walton. Music in Context. Cambridge and New York: Cambridge University Press. ISBN 978-0-521-76521-3.
  • Hess, Carol A. 2001. Manuel de Falla and Modernism in Spain, 1898–1936. Chicago Studies in the History of Judaism. Chicago: University of Chicago Press. ISBN 978-0-226-33038-9.
  • Hisama, Ellie M. 2006. Gendering Musical Modernism: The Music of Ruth Crawford, Marion Bauer, and Miriam Gideon. Cambridge Studies in Music Theory and Analysis 15. Cambridge and New York: Cambridge University Press. ISBN 978-0-521-02843-1.
  • Loya, Shay. 2011. Liszt'south Transcultural Modernism and the Hungarian-Gypsy Tradition. Eastman Studies in Music. Rochester, New York: University of Rochester Press. ISBN 978-1-58046-323-2.
  • Riley, Matthew (ed.). 2010. British Music and Modernism, 1895–1960. Aldershot: Ashgate. ISBN 978-0-7546-6585-4.
  • Schleifer, Ronald (2014). Modernism and Popular Music. Cambridge University Press. ISBN978-ane-107-65530-0.
  • Sitsky, Larry. 2002. Music of the Twentieth-Century Avant-garde: A Biocritical Sourcebook. Westport, Connecticut: Greenwood Press. ISBN 0-313-29689-8.
  • Smith Brindle, Reginald. 1987. The New Music: The Avant-garde Since 1945, second edition. Oxford and New York: Oxford Academy Printing. ISBN 0-19-315471-4 (textile) ISBN 0-xix-315468-four (pbk).
  • Straus, Joseph Nathan. 1990. Remaking the Past: Musical Modernism and the Influence of the Tonal Tradition. Cambridge, Massachusetts: Harvard University Press. ISBN 0-674-75990-7.
  • Russolo, Luigi. 1913. L'arte dei rumori: manifesto futurista. Milan: Direzione del Movimento Futurista.
  • Taruskin, Richard. 1987. "The Starting time Modernist". The New Republic 197, no. 26 (28 December): 36–forty. Reprinted in: Richard Taruskin, The Danger of Music and other Anti-Utopian Essays, 195–201. Berkeley and Los Angeles: University of California Press, 2009. ISBN 978-0-520-24977-6.
  • Watkins, Glenn. 1994. Pyramids at the Louvre: Music, Culture, and Collage from Stravinsky to the Postmodernists. Cambridge, Massachusetts: Belknap Printing of Harvard Academy Press. ISBN 0-674-74083-1.
  • Williams, Alastair. 1999. "Adorno and the Semantics of Modernism". Perspectives of New Music 37, no. two (Summertime): 29–fifty.
  • Youmans, Charles Dowell. 2005. Richard Strauss's Orchestral Music and the German Intellectual Tradition: The Philosophical Roots of Musical Modernism. Bloomington: Indiana University Press. ISBN 0-253-34573-1.

External links [edit]

  • Written Tape Guides – The Contemporary Era, lectures past Prof. John Ronsheim (1927–1997), Antioch College

haydentwiletionly.blogspot.com

Source: https://en.wikipedia.org/wiki/Modernism_%28music%29