Post-modernism
Kraxpelax
What about post-modernism in music...
Now this is clearly a megatrend.
Didn't Shostakovich prepare the way for it? - I think yes. In his
minimalist leanings, clearest to be seen in his string quartets.
But post-modernism is not radical minimalism. It is STILL
classical music.
Today we have Galina Ustvolskaya...
And Arvo Paert, Gorecki, Nyman, and, basically, Allan Pettersson...
Perhaps the lithuanian Osvaldas Balakauskas and the estonian
Veijo Tormis...
And Sven-David Sandstrom... This man doesn't compose music,
he CHEWS it; clearly post-modern....
There must be more...
Interesting.
- Kraxpelax
JHenry1975
>Didn't Shostakovich prepare the way for it?
How about Stravinsky? He combines pseudo-Baroque, pseudo-Classical,
pseudo-Romantic, and pseudo-Jazz passages, a major Po-Mo feature.
Of course, even before him you had Mahler and Ives combining the banal with the
sublime, sometimes in a rather disjointed fashion. Another major Po-Mo
feature.
Then you have folks like Bernd Alois Zimmermann, who started quoting
recognizable chunks of other people's music (from Bach to the Beatles) in his
own works. Another major Po-Mo feature.
>But post-modernism is not radical minimalism. It is STILL
>classical music.
Who ever thought Po-Mo and minimalism of any kind were the same thing? They
are two different, though related, phenomena.
Po-Mo is a rejection of the Modernist idea of progress, that there is one path
of continous evolution in the arts. (That's why it's "Post-Modern," otherwise
an oxymoron.) The Po-Mo idea of progress is much more complicated. Paths
split into two only to split again. Offshoots from one path co-mingle with
others. And paths long thought dead are revived. Po-Mo is a pluralistic
philosophy and is therefore hard to pinpoint stylistically. Part is
stylistically nothing like Schnittke (who is called Po-Mo more often than
Part), who is nothing like Berio (who denies he even *is* Po-Mo).
>There must be more...
Start with Schnittke's Concerti Grossi. I'm shocked you could go on about
Po-Mo without bringing up his name. Do you know his music? It's been very
widely recorded.
Joseph Henry
Kraxpelax
JHenry1975 skrev i meddelandet
<19990703104212...@ng-cq1.aol.com>...
>Kraxpelax wrote about Po-Mo:
>
>>Didn't Shostakovich prepare the way for it?
>
>How about Stravinsky? He combines pseudo-Baroque, pseudo-Classical,
>pseudo-Romantic, and pseudo-Jazz passages, a major Po-Mo feature.
>
>Of course, even before him you had Mahler and Ives combining the banal with
the
>sublime, sometimes in a rather disjointed fashion. Another major Po-Mo
>feature.
>
>Then you have folks like Bernd Alois Zimmermann, who started quoting
>recognizable chunks of other people's music (from Bach to the Beatles) in
his
>own works. Another major Po-Mo feature.
k: All right, but definitory to Po-Mo is not merely eklecticism, but rather
the keyword
"back to basics"... I feel Stravinsky, Ives, Mahler much too personal and
elaborated
to be seen as fore-runners to Po-Mo. Much more adequate is Shostakovich.
>>But post-modernism is not radical minimalism. It is STILL
>>classical music.
>
>Who ever thought Po-Mo and minimalism of any kind were the same thing?
They
>are two different, though related, phenomena.
>
>Po-Mo is a rejection of the Modernist idea of progress, that there is one
path
>of continous evolution in the arts. (That's why it's "Post-Modern,"
otherwise
>an oxymoron.) The Po-Mo idea of progress is much more complicated. Paths
>split into two only to split again. Offshoots from one path co-mingle with
>others. And paths long thought dead are revived. Po-Mo is a pluralistic
>philosophy and is therefore hard to pinpoint stylistically.
k: I agree broadly with this analysis.
Part is
>stylistically nothing like Schnittke (who is called Po-Mo more often than
>Part), who is nothing like Berio (who denies he even *is* Po-Mo).
k: My God, Berio is not Po-Mo, he is Mo. And Paert started Mo, then went Po.
He is very paradigmatic an conscious in this, seeking the universal rather
than
the individual.
>
>>There must be more...
>
>Start with Schnittke's Concerti Grossi. I'm shocked you could go on about
>Po-Mo without bringing up his name.
k: Me too. :o( *blushing* Just forgot him.
Do you know his music? It's been very
>widely recorded.
>
k: Fairly well. Not one of my idols.
- Kraxpelax