american classical collage music postmod postmodern, postmodernism think

My tags:

From Wikipedia, the free encyclopedia

This article needs additional citations for verification. Please help improve this article by adding reliable references (ideally, using inline citations). Unsourced material may be challenged and removed. (April 2008)

Postmodernism
preceded by Modernism
Post-anarchism Posthumanism Post-Marxism Postmodernity Postmodern architecture Postmodern art Postmodern Christianity Postmodern dance Postmodern feminism Postmodern Fusion Postmodern literature Postmodern music Postmodern picture book Postmodern philosophy Postmodern social construction of nature Postmodern theater Postmodernism in political science Postmodernist anthropology Postmodernist film Postmodernist school Post-structuralism  v • d • e

Postmodern music is either simply music of the postmodern era, or music that follows the postmodernist ideology. As the name suggests, the postmodernist movement formed partly in reaction to modernist music. Because of this, Postmodern music is mostly defined in opposition to modernist music, and a work can either be modernist, or postmodernist, but not both.

Contents 1 The postmodernist musical attitude 2 Timescale 3 See also 4 Sources

[edit] The postmodernist musical attitude

Jonathan Kramer posits the idea (following Umberto Eco and Jean-François Lyotard) that postmodernism (including musical postmodernism) is less a surface style or historical period (i.e., condition) than an attitude. Kramer enumerates 16 "characteristics of postmodern music, by which I mean music that is understood in a postmodern manner, or that calls forth postmodern listening strategies, or that provides postmodern listening experiences, or that exhibits postmodern compositional practices." According to Kramer (Kramer 2002, 16–17), postmodern music:

1. is not simply a repudiation of modernism or its continuation, but has aspects of both a break and an extension
2. is, on some level and in some way, ironic
3. does not respect boundaries between sonorities and procedures of the past and of the present
4. challenges barriers between 'high' and 'low' styles
5. shows disdain for the often unquestioned value of structural unity
6. questions the mutual exclusivity of elitist and populist values
7. avoids totalizing forms (e.g., does not want entire pieces to be tonal or serial or cast in a prescribed formal mold)
8. considers music not as autonomous but as relevant to cultural, social, and political contexts
9. includes quotations of or references to music of many traditions and cultures
10. considers technology not only as a way to preserve and transmit music but also as deeply implicated in the production and essence of music
11. embraces contradictions
12. distrusts binary oppositions
13. includes fragmentations and discontinuities
14. encompasses pluralism and eclecticism
15. presents multiple meanings and multiple temporalities
16. locates meaning and even structure in listeners, more than in scores, performances, or composers

[edit] Timescale

One author has suggested that the transition in music from modern to postmodern occurred in the late 1960s, influenced in part by psychedelic rock and one or more of the later Beatles albums (Sullivan 1995, 217). Others place the beginnings of musical postmodernism much earlier, around 1930 (Karolyi 1994, 135; Meyer 1994, 331–32).

[edit] See also

• Postmodern classical music
• 20th century classical music
• Sound collage
• Plunderphonics
• Sound collage
• No Wave
• Theodor W. Adorno
• Walter Benjamin

[edit] Sources

• Albright, Daniel. 2004. Modernism and Music: An Anthology of Sources. University of Chicago Press. ISBN 0-226-01267-0.
• Danuser, Hermann. 1991. "Postmodernes Musikdenken—Lösung oder Flucht?". In Neue Musik im politischen Wandel: fünf Kongressbeiträge und drei Seminarberichte, edited by Hermann Danuser, 56–66. Mainz & New York: Schott. ISBN 3795717728
• Heilbroner, Robert L. 1961. The Future as History. New York: Grove Press.
• Jameson, Fredric. 1991. Postmodernism, or, The Cultural Logic of Late Capitalism. Durham: Duke University Press. ISBN 0822309297 (cloth); ISBN 0822310902 (pbk)
• Karolyi, Otto. 1994. Modern British Music: The Second British Musical Renaissance—From Elgar to P. Maxwell Davies. Rutherford, Madison, Teaneck: Farleigh Dickinson University Press; London and Toronto: Associated University Presses. ISBN 0-8386-3532-6
• Kramer, Jonathan. 2002. "The Nature and Origins of Musical Postmodernism." In Postmodern Music/Postmodern Thought, edited by Judy Lochhead and Joseph Aunder,^{[citation needed]} New York: Routledge. ISBN 0-8153-3820-1 Reprinted from Current Musicology no. 66 (Spring 1999): 7–20.
• Meyer, Leonard B. 1994. Music, the Arts, and Ideas: Patterns and Predictions in Twentieth-Century Culture, second edition. Chicago and London: University of Chicago Press. ISBN 0-226-52143-5
• Ortega y Gasset, José. 1932. The Revolt of the Masses. New York & London: W. W. Norton & Company. ISBN 0-393-31095-7 Online edition
• Sullivan, Henry W. 1995. The Beatles with Lacan: Rock ‘n’ Roll as Requiem for the Modern Age. Sociocriticism: Literature, Society and History Series 4. New York: Lang. ISBN 0-8204-2183-9.
• Varga, Bálint András, and Rossana Dalmonte. 1985. Luciano Berio: Two Interviews, translated and edited by David Osmond-Smith. London: Boyars. ISBN 07145282930714528293
• Wellmer, Albrecht. 1991. The Persistence of Modernity: Essays on Aesthetics, Ethics and Postmodernism, trans. David Midgley. Cambridge [Massachusetts]: MIT Press. ISBN 0262231603