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Avant-garde Music
Avant-garde music is music that is considered to be at the forefront of innovation in its field, with the term "avant-garde" implying a critique of existing aesthetic conventions, rejection of the status quo in favor of unique or original elements, and the idea of deliberately challenging or alienating audiences. Avant-garde music may be distinguished from experimental music by the way it adopts an extreme position within a certain tradition, whereas experimental music lies outside tradition. Distinctions Avant-garde music may be distinguished from experimental music by the way it adopts an extreme position within a certain tradition, whereas experimental music lies outside tradition. In a historical sense, some musicologists use the term "avant-garde music" for the radical compositions that succeeded the death of Anton Webern in 1945, Paul Du Noyer (ed.), "Contemporary", in the ''Illustrated Encyclopedia of Music: From Rock, Pop, Jazz, Blues and Hip Hop to Classical, Folk, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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. 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 th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musique Concrète
Musique concrète (; ): " problem for any translator of an academic work in French is that the language is relatively abstract and theoretical compared to English; one might even say that the mode of thinking itself tends to be more schematic, with a readiness to see material for study in terms of highly abstract dualisms and correlations, which on occasion does not sit easily with the perhaps more pragmatic English language. This creates several problems of translation affecting key terms. Perhaps the most obvious of these is the word ''concret''/''concrète'' itself. The word in French, which has nothing of the familiar meaning of "concrete" in English, is used throughout 'In Search of a Concrete Music''with all its usual French connotations of "palpable", "nontheoretical", and "experiential", all of which pertain to a greater or lesser extent to the type of music Schaeffer is pioneering. Despite the risk of ambiguity, we decided to translate it with the English word ''concrete'' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
John Cage
John Milton Cage Jr. (September 5, 1912 – August 12, 1992) was an American composer and music theorist. A pioneer of indeterminacy in music, electroacoustic music, and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde. Critics have lauded him as one of the most influential composers of the 20th century. He was also instrumental in the development of modern dance, mostly through his association with choreographer Merce Cunningham, who was also Cage's romantic partner for most of their lives. Cage is perhaps best known for his 1952 composition '' 4′33″'', which is performed in the absence of deliberate sound; musicians who present the work do nothing aside from being present for the duration specified by the title. The content of the composition is not "four minutes and 33 seconds of silence," as is often assumed, but rather the sounds of the environment heard by the audience during performance. The work's challen ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Modernist 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. 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 t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Josquin Des Prez
Josquin Lebloitte dit des Prez ( – 27 August 1521) was a composer of High Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of his predecessors Guillaume Du Fay and Johannes Ockeghem, he developed a complex style of expressive—and often imitative—movement between independent voices (polyphony) which informs much of his work. He further emphasized the relationship between text and music, and departed from the early Renaissance tendency towards lengthy melismatic lines on a single syllable, preferring to use shorter, repeated motifs between voices. Josquin was a singer, and his compositions are mainly vocal. They include masses, motets and secular chansons. Josquin's biography has been continually revised by modern scholarship, and remains hi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Edward Lowinsky
Edward Elias Lowinsky (January 12, 1908 – October 11, 1985) was an American musicologist. Lowinsky was one of the most prominent and influential musicologists in post-World War II America. His 1946 work on the "secret chromatic art" of Renaissance motets was hotly debated in its time, spurring considerable research into the issues of '' musica ficta'' and performance practice of early music. Life He was born in Stuttgart, Germany to Leopold L. and Clara Rosenfeld. Lowinsky studied piano, composition, and conducting in Stuttgart at the Hochschule für Musik, 1923-28. In 1933, he obtained his Ph.D. from the University of Heidelberg, studying under Heinrich Besseler. His dissertation was on Orlando di Lasso. He lived in the Netherlands from 1933 to 1939, and in 1940 emigrated to the United States. In 1947 he became a United States citizen. He taught at Black Mountain College (1942–47), Queens College, New York (1947-56), and the University of California, Berkeley (1956–6 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Don Michael Randel
Don Michael Randel (born December 9, 1940) is an American musicologist, specializing in the music of the Middle Ages and Renaissance in Spain and France. He is currently the Chair of the Board of the American Academy of Arts and Sciences, a trustee of the Carnegie Corporation, and a member of the Encyclopædia Britannica editorial board, and has previously served as the fifth president of the Andrew W. Mellon Foundation, twelfth president of the University of Chicago, Provost of Cornell University, and Dean of Cornell's College of Arts and Sciences. He has served as editor of the third and fourth editions of the '' Harvard Dictionary of Music'', the ''Harvard Biographical Dictionary of Music'', and the ''Harvard Concise Dictionary of Music and Musicians''. He was elected to the American Philosophical Society in 2002. Randel is a triple alumnus of Princeton University, where he earned his bachelor's, master's and doctoral degrees in musicology. After completing his PhD at Princeto ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Harvard Dictionary Of Music
''The Harvard Dictionary of Music'' is a standard music reference book published by the Belknap Press of Harvard University Press. The first edition, titled ''Harvard Dictionary of Music'', was published in 1944, and was edited by Willi Apel. The second edition, also edited by Apel, was published in 1969. A new editor, Don Michael Randel, took over for the third edition in 1986. The book was retitled ''The New Harvard Dictionary of Music'', and featured expanded coverage of twentieth-century and non-Western music, and including information on jazz and popular music Popular music is music with wide appeal that is typically distributed to large audiences through the music industry. These forms and styles can be enjoyed and performed by people with little or no musical training.Popular Music. (2015). ''Fu ... for the first time. For the fourth edition (2003, also edited by Randel), the book reverted to the earlier title (with the article added), ''The Harvard Dictionar ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Richard Wagner
Wilhelm Richard Wagner ( ; ; 22 May 181313 February 1883) was a German composer, theatre director, polemicist, and conductor who is chiefly known for his operas (or, as some of his mature works were later known, "music dramas"). Unlike most opera composers, Wagner wrote both the libretto and the music for each of his stage works. Initially establishing his reputation as a composer of works in the romantic vein of Carl Maria von Weber and Giacomo Meyerbeer, Wagner revolutionised opera through his concept of the ''Gesamtkunstwerk'' ("total work of art"), by which he sought to synthesise the poetic, visual, musical and dramatic arts, with music subsidiary to drama. He described this vision in a series of essays published between 1849 and 1852. Wagner realised these ideas most fully in the first half of the four-opera cycle ''Der Ring des Nibelungen'' (''The Ring of the Nibelung''). His compositions, particularly those of his later period, are notable for their complex texture (mus ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Paul Du Noyer
Paul Du Noyer (born Paul Anthony Du Noyer; 21 May 1954) is an English rock journalist and author. He was born in Liverpool, Lancashire, and educated at the London School of Economics. He has written and edited for the music magazines '' NME'', '' Q'' and ''Mojo''. Du Noyer is the author of several books on the music industry, rock musicians, London and on his hometown, Liverpool. He was associate editor at '' The Word'' magazine from 2002 until its demise in 2012. Career Du Noyer began his writing career in London after moving from Liverpool at the age of eighteen. He was a freelance journalist from 1978 to 1980 and then worked as an assistant editor for the '' NME'' before becoming a staff writer in 1980. At '' Q'', he was assistant editor until 1990 and then served as editor before becoming the founding editor of ''Mojo'' magazine. In the latter role, he won an award for "Editor of the year" in 1994. He left ''Mojo'' in 1995 but remains a contributing editor. He was editor d ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Anton Webern
Anton Friedrich Wilhelm von Webern (3 December 188315 September 1945), better known as Anton Webern (), was an Austrian composer and conductor whose music was among the most radical of its milieu in its sheer concision, even aphorism, and steadfast embrace of then novel atonal and twelve-tone techniques. With his mentor Arnold Schoenberg and his colleague Alban Berg, Webern was at the core of those within the broader circle of the Second Viennese School. Little known in the earlier part of his life, mostly as a student and follower of Schoenberg, but also as a peripatetic and often unhappy theater music director with a mixed reputation as an exacting conductor, Webern came to some prominence and increasingly high regard as a vocal coach, choirmaster, conductor, and teacher during Red Vienna. With Schoenberg away at the Prussian Academy of Arts (and with the benefit of a publication agreement secured through Universal Edition), Webern began writing music of increasing confidence ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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