Modernism in music

History of Academic Music
Middle Ages	(476-1400)
Renaissance	(1400-1600)
Baroque	(1600-1750)
Classicism	(1750-1820)
Romanticism	(1820-1890)
Modernism	(1890-1930)
XX century	(1901-2000)
XXI Century	(2001 - present)

Modernism in music is an art history concept, which, although it is interpreted in musicology, is not always unambiguous in terms of history, but nonetheless always indicates various innovative trends in music, as well as the active desire of musicians to further modernize its aesthetic appearance ^[1] .

For example, authoritative American conductor , musicologist and music and social activist Leon Botstein believes that modernism in music is characterized by an increased susceptibility to progress in the field of modern culture , science , and technology , as well as positivistic views on urbanization and many phenomena of popular culture , although Botstein also points out that the aesthetics of musical modernism “reflects not only creative enthusiasm , but also social anxiety” ^[2] .

Content

Representatives of Modernism in Music

The role of a certain “stylistic bridge” between late Austro-German romanticism of the 19th century and modernism of the early 20th century was played by the work of the outstanding Austrian composer and conductor Gustav Mahler (1860-1911).

An example of highly ideological modernism in the musical culture of Russia is the work of Alexander Nikolaevich Scriabin (1872–1915).

In addition to the already mentioned, the following composers are also considered modernists:

France

Debussy, Claude (1862-1918)
Sati, Eric (1866-1925)
Ravel, Maurice (1875-1937)
Duke, Paul (1865-1935)
Honegger, Arthur (1892-1955)
Millau, Darius (1892-1974)
Pulenc, Francis (1899-1963)

Germany

Strauss, Richard (1864-1949)
Hindemith, Paul (1895-1963)
Orff, Karl (1895-1982)
Weil, Kurt (1900-1950)

Austria

Tsemlinsky, Alexander von (1871-1942)
Schoenberg, Arnold (1874-1951)
Berg, Alban (1885-1935)
Webern, Anton (1883-1945)

Italy

Busoni, Ferruccio (1866-1924)
Respighi, Ottorino (1879-1936)
Malipiero, Gian Francesco (1882-1973)
Casella, Alfredo (1883 −1947)

Russia

Stravinsky, Igor Fedorovich (1882-1971)
Prokofiev, Sergey Sergeevich (1891-1953)
Shostakovich, Dmitry Dmitrievich (1906-1975)

UK

Delius, Frederick (1862-1934)
Vaughan Williams, Ralph (1872-1958)
Britten, Benjamin (1913-1976)

Hungary

Bartok, Bela (1881-1945)
Kodai, Zoltan (1882-1967)

Czechoslovakia

Martin, Boguslav (1890-1959)
Gaba, Alois (1893-1973)

Romania

Enescu, George (1881-1955)

Spain

Falla, Manuel de (1876-1946)

Finland

Sibelius, Jan (1865-1957)

Poland

Szymanowski, Karol (1882-1937)
Lutoslavsky, Vitold (1913-1994)

USA

Ives, Charles (1874-1954)
Varez, Edgar (1883-1965)
Gershwin, George (1898-1937)
Antail, George (1900-1959)
Copland, Aaron (1900-1990)
Barber, Samuel (1910-1981)

Mexico

Chavez, Carlos (1899-1978)
Revueltas, Sylvester (1899-1940)

Brazil

Villa Lobos, Eitor (1887-1959)

Argentina

Hinaster, Alberto (1916-1983)

Criticism

Despite the fact that modernism, in general, is recognized by the music community as a completely natural and “normative” phenomenon, there are cases when some prominent musicians viewed modernism from a rather critical standpoint ^[3] .

Notes

↑ Albright, Daniel. 2004. Modernism and Music: An Anthology of Sources . Chicago: University of Chicago Press. ISBN 0-226-01267-0 .
↑ “A conception of modernity dominated by the progress of science, technology and industry, and by positivism, mechanization, urbanization, mass culture and nationalism ..., reflected not only enthusiasm but ambivalence and anxiety an aesthetic reaction to which” (Botstein 2007) . (2007) Music in Times of Economic Distress. The Musical Quarterly 90 (2): 167-175.
↑ In one of his very infrequent interviews, Sergei Rachmaninov entered into a debate with the prevailing opinion that modern music is a further stage in the development of musical art. In his opinion, it is only a regression. He does not believe that any significant works can grow out of this direction, because modernists lack the main thing - the heart:
“The poet Heine once said:“ What takes life takes music back. ” He would not have said this if he had heard the music of today. For the most part, it gives nothing. Music is designed to bring relief. It should have a cleansing effect on the minds and hearts, but modern music does not. If we want real music, we need to get back to the basics that made the music of the past great. Music cannot be limited to paint and rhythm; it must reveal deep feelings. ”(From the article“ Rachmaninov attacks “heartless” modernism.)

Literature

Albright, Daniel. 2000. Untwisting the Serpent: Modernism in Music, Literature, and Other Arts . Chicago: University of Chicago Press. ISBN 0226012530 (cloth) ISBN 0226012549 (pbk)
Albright, Daniel. 2004. Modernism and Music: An Anthology of Sources . Chicago: University of Chicago Press. ISBN 0-226-01267-0 .
Anon. nd " Poème electronique ". The EMF Institute website (Archive, accessed February 27, 2012).
Ashby, Arved. 2004. "Modernism Goes to the Movies." In The Pleasure of Modernist Music: Listening, Meaning, Intention, Ideology , edited by Arved Ashby, 345-86. Eastman Studies in Music. Rochester, NY: University of Rochester Press. ISBN 1-58046-143-3 .
Botstein, Leon. "Modernism". Grove Music Online ed. L. Macy.
Dahlhaus, Carl. 1989. Nineteenth-Century Music . Translated by J. Bradford Robinson. Berkeley: University of California Press.
Drury, Stephen. nd " In a Landscape (inaccessible link from 05/26/2013 [2275 days] - history , copy ) ". http://www.stephendrury.com/ (Accessed February 27, 2012).
Ferneyhough, Brian. 1995. Collected Writings , edited by James Boros and Richard Toop. New York: Routledge. ISBN 3718655772 .
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 .
McHard, James L. 2008. The Future of Modern Music: A Philosophical Exploration of Modernist Music in the 20th Century and Beyond , 3rd edition. Livonia, Michigan: Iconic Press ISBN 978-0977819515 .
Metzer, 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. ISBN 9780521517799 .
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 .
Morgan, Robert P. 1984. "Secret Languages: The Roots of Musical Modernism." Critical Inquiry 10, no. 3 (March): 442-61.
Russolo, Luigi. 1913. L'arte dei rumori: manifesto futurista . Milan: Direzione del Movimento Futurista.
Botstein, Leon ,. Music and Modernity. - New Haven, CT: Yale University Press, forthcoming.
Albright, Daniel. 2011. Musical Motives. In The Cambridge Companion to Modernism , second ed., Edited by Michael H. Levenson. Cambridge and New York: Cambridge University Press. ISBN 1107010632 (cloth); ISBN 0521281253 (pbk).
Bernstein, David W., John Rockwell, and Johannes Goebel. 2008. The San Francisco Tape Music Center: 1960s Counterculture and the Avant-garde . Berkeley: University of California Press. ISBN 9780520248922 (cloth) ISBN 9780520256170 (pbk).
Botstein, Leon. 1985. "Music and Its Public: Habits of Listening and the Crisis of Musical Modernism in Vienna, 1870-1914." Ph.D. thesis. Cambridge, MA: Harvard University.
Bucknell, Brad. 2001. Literary Modernism and Musical Aesthetics: Pater, Pound, Joyce, and Stein . Cambridge and New York: Cambridge University Press. ISBN 0521660289 .
Despic, Dejan, and Melita Milin (eds.). 2008. Rethinking Musical Modernism: Proceedings of the International Conference Held from October 11 to 13, 2007 / Muzicki modernizam — nova tumacenja: zbornik radova sa naucnog skupa odzanog od 11. do 13. oktobra 2007 . Belgrade: Institute of Musicology. ISBN 9788670254633 .
Duncan, William Edmondstoune. 1917. Ultra-Modernism in Music: A Treatise on the Latter-day Revolution in Musical Art . Schirmer's Red Series of Music Text Books. London: Winthrop Rogers.
Earle, Benjamin. 2011. Luigi Dallapiccola and Musical Modernism in Fascist Italy . Cambridge: Cambridge University Press. ISBN 9780521844031 .
Griffiths, Paul. 1981. Modern Music: The Avant Garde since 1945 . New York: George Braziller. ISBN 0807610186 (pbk.)
Sitsky, Larry. 2002. Music of the Twentieth-Century Avant-garde: A Biocritical Sourcebook . Westport, Conn .: Greenwood Press. ISBN 0313296898 .
Smith Brindle, Reginald. 1987. The New Music: The Avant-garde Since 1945 , second edition. Oxford and New York: Oxford University Press. ISBN 0193154714 (cloth) ISBN 0193154684 (pbk).
Straus, Joseph Nathan. 1990. Remaking the Past: Musical Modernism and the Influence of the Tonal Tradition . Cambridge, MA .: Harvard University Press. ISBN 0674759907 .
Watkins, Glenn. 1994. Pyramids at the Louvre: Music, Culture, and Collage from Stravinsky to the Postmodernists . Cambridge, Mass .: Belknap Press of Harvard University Press. ISBN 0674740831 .
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 0253345731 .

Links

Audio lectures on the history of the Modern musical era by Prof. John ronsheim

[1] Albright, Daniel. 2004. Modernism and Music: An Anthology of Sources . Chicago: University of Chicago Press. ISBN 0-226-01267-0 .

[2] “A conception of modernity dominated by the progress of science, technology and industry, and by positivism, mechanization, urbanization, mass culture and nationalism ..., reflected not only enthusiasm but ambivalence and anxiety an aesthetic reaction to which” (Botstein 2007) . (2007) Music in Times of Economic Distress. The Musical Quarterly 90 (2): 167-175.

[3] In one of his very infrequent interviews, Sergei Rachmaninov entered into a debate with the prevailing opinion that modern music is a further stage in the development of musical art. In his opinion, it is only a regression. He does not believe that any significant works can grow out of this direction, because modernists lack the main thing - the heart:
“The poet Heine once said:“ What takes life takes music back. ” He would not have said this if he had heard the music of today. For the most part, it gives nothing. Music is designed to bring relief. It should have a cleansing effect on the minds and hearts, but modern music does not. If we want real music, we need to get back to the basics that made the music of the past great. Music cannot be limited to paint and rhythm; it must reveal deep feelings. ”(From the article“ Rachmaninov attacks “heartless” modernism.)