Modernism (music)
In music, modernism is an aesthetic stance underlying the period of change and development in musical language that occurred around the turn of the 20th century, a period 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". Its leading feature is a "linguistic plurality", which is to say that no one music genre ever assumed a dominant position.
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- enIn music, modernism is an aesthetic stance underlying the period of change and development in musical language that occurred around the turn of the 20th century, a period 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". Its leading feature is a "linguistic plurality", which is to say that no one music genre ever assumed a dominant position.
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- enIn music, modernism is an aesthetic stance underlying the period of change and development in musical language that occurred around the turn of the 20th century, a period 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". Its leading feature is a "linguistic plurality", which is to say that no one music genre ever assumed a dominant position. Inherent within musical modernism is the conviction that music is not a static phenomenon defined by timeless truths and classical principles, but 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 particularly important within modernist aesthetic stances. — Edward , p. 37) [emphasis added] Examples include the celebration of Arnold Schoenberg's rejection of tonality in chromatic post-tonal and twelve-tone works and Igor Stravinsky's move away from symmetrical rhythm. Authorities typically 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. For the musicologist Carl Dahlhaus the purest form was over by 1910, but other historians consider modernism to end with one or the other of the two world wars.
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- enModernism (music)
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- Absolute music
- Antioch College
- Arnold Schoenberg
- Atonality
- Avant-garde music
- Brian Wilson
- Carl Dahlhaus
- Category:Modernism (music)
- Claude Debussy
- Critical Inquiry
- Daniel Albright
- Domenic Priore
- Don Juan (Strauss)
- Eero Tarasti
- Experimental music
- Expressionist music
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- Futurism (music)
- Good Vibrations
- Grove Music Online
- Gustav Mahler
- Hermann Bahr
- History of music
- Igor Stravinsky
- Ike & Tina Turner
- Leonard B. Meyer
- Leon Botstein
- List of modernist composers
- Meter (music)
- Modernism
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- Neoclassicism (music)
- Neoconservative postmodernism
- Ottó Károlyi
- Philosophy of music
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- Postmodernism (music)
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- Richard Strauss
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- The Beach Boys
- Tonality
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- Reference
- enAlbright, Daniel. 2004. Modernism and Music: An Anthology of Sources. Chicago: University of Chicago Press. .
- enBotstein, Leon. "Modernism". Grove Music Online edited by Laura Macy. .
- enCampbell, Edward. 2010. Boulez, Music and Philosophy. Cambridge: Cambridge University Press. .
- enDahlhaus, Carl. 1989. Nineteenth-Century Music. Translated by J. Bradford Robinson. Berkeley: University of California Press.
- enKárolyi, Ottó. 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. .
- enMetzer, David Joel. 2009. Musical Modernism at the Turn of the Twenty-first Century. Music in the Twentieth Century 26. Cambridge and New York: Cambridge University Press. .
- enMeyer, Leonard B. 1994. Music, the Arts, and Ideas: Patterns and Predictions in Twentieth-Century Culture, second edition. Chicago and London: University of Chicago Press. .
- enTarasti, 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. .
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