The Recovery of Modern Music: George Rochberg in Conversation

Tempo ◽  
2002 ◽  
pp. 8-12 ◽  
Author(s):  
Robert R. Reilly
Keyword(s):  
String Quartet ◽  
New World ◽  
American Music ◽  
Modern Music ◽  
Avant Garde ◽  
The Past ◽  
Serial Music ◽  
George Rochberg ◽  
Concert Halls ◽  
World Records

Composer George Rochberg (b. 1918) is the pivot point around which American music took a decisive turn away from Arnold Schoenberg's systematized dissonance, generally known as 12–tone or serial music, and back toward tonality. If it is now safe to return to the concert halls, it is largely because of him. Before turning against 12–tone music in the mid–1960s, Rochberg had been one of its most adept and prestigious practitioners. Thus his ‘conversion’ provoked an outraged reaction from the musical establishment and the avant-garde. However, Rochberg's courage helped to free the next generation of composers from the serial straightjacket to write music that was once again comprehensible to audiences. On a two–CD set, New World Records has re-released recordings of Rochberg's Quartets Nos.3–6, brilliantly performed by the Concord String Quartet (New World Records 80551–2). These works, especially the Third Quartet, were very much at the heart of the controversy caused by Rochberg's attempt to ‘regain contact with the tradition and means of the past’. At his home in Pennsylvania, I spoke with Maestro Rochberg about what is at stake in modern music and about his own extraordinary spiritual and musical journey.

scholarly journals a vital past

2021 ◽  
pp. 67-67
Author(s):  
Elena Grigoryeva ◽  
Konstantin Lidin
Keyword(s):  
Twentieth Century ◽  
New World ◽  
Family Relations ◽  
Avant Garde ◽  
The Past ◽  
Special Meaning ◽  
Design And Construction

We lived and lived. But then, whoops!We found ourselves in other times…Timur Shaov. “Other times (listening to Galich once again)”Crises shaking our reality in the last decades happen so often that they overlap each other like roof tiles. Linear development of the second half of the twentieth century gave way to the era of cardinal changes. While building a new world, we strongly feel the need to preserve and comprehend the past. It is possible to understand the new only in comparison with the past. The disappearing world that consists of separate, isolated and selfcontained fragments is embodied in monuments of architecture. Images, techniques and practices of design and construction acquire a special meaning and new relevance in these new times. Wooden architecture of Siberia and stone merchant houses in Yalutorovsk, ancient churches and Leonidov’s avant-garde project, ruins of Stalin’s camps and the Korean Garden in Irkutsk are elements of the past that we need to understand the present. Protesting against the unification of tastes, breach of family relations and destruction of traditions, glocalization is on the rise.

Towards Modern Music in Romania

2003 ◽  
Vol 30 (2) ◽  
pp. 1-19
Author(s):  
Valentina Sandu-Dediu
Keyword(s):  
20Th Century ◽  
Coming Of Age ◽  
American Music ◽  
Oral Traditions ◽  
Eastern European ◽  
Musical Language ◽  
Modern Music ◽  
Global Trends ◽  
Avant Garde ◽  
School Of Music

AbstractToo little known in the West, modern Romanian scores are being gradually discovered nowadays, beginning with those of George Enescu. For decades underestimated as a creator, Enescu has been re-evaluated and recently recognized as an original and authentic representative of an Eastern European music school, comparable with JanáČek or Szymanowski. The Romanian music of the past fifty years, due to the political and ideological situation of Romania, similar to other countries of the ex-communist Eastern European bloc, has been isolated geographically but not aesthetically. The great diversity of modern or avant-garde trends in Western European and North American music is also present in the output of Romanian composers of the same period, combined in various degrees with autochthonous nuances. Originating primarily in the two major oral traditions, namely peasant folk music and religious Byzantine music, these have compelled Romanian composers to find their own musical language. However, Romanian composers coming of age in the second half of the 20th century took their first steps on a well-established territory, from the standpoint of composition, style, and aesthetics. A solid school of music - built on structural foundations that gave it a distinct language - had already been established in Romania in the first half of the 20th century. Therefore, the following essay is a chronological outline of the historical development of Romanian composition, a process governed primarily by the tension between national elements and global trends.

Fighting with Words: American Composers' Commentary on Their Work

1985 ◽  
Vol 27 (3) ◽  
pp. 430-460 ◽  
Author(s):  
Catherine M. Cameron
Keyword(s):  
Twentieth Century ◽  
American Art ◽  
Art Music ◽  
American Music ◽  
New Music ◽  
American Composers ◽  
Avant Garde ◽  
The Past ◽  
Early Twentieth Century

In the past few decades, there has been an explosion of literature concerning the changes taking place in American art music. In many cases, this literature is the work of the very people who are making those changes, the composers of new music. Much of their commentary is written in a manifesto style reminiscent of avant-garde movements of the early twentieth century. The dominant topic concerns the changes composers feel are needed to revolutionize American music.

The Southern Slope of Monsalvat: How Spanish Wagnerism Became Catalan

2017 ◽  
Vol 41 (1) ◽  
pp. 31-47
Author(s):  
Clinton D. Young
Keyword(s):  
Economic Development ◽  
Political Institutions ◽  
Late Nineteenth Century ◽  
Southern Slope ◽  
Modern Music ◽  
The Past ◽  
Late Nineteenth ◽  
Symphonic Culture ◽  
Similar Dynamic ◽  
The Way

This article examines the development of Wagnerism in late-nineteenth-century Spain, focusing on how it became an integral part of Catalan nationalism. The reception of Wagner's music and ideas in Spain was determined by the country's uneven economic development and the weakness of its musical and political institutions—the same weaknesses that were responsible for the rise of Catalan nationalism. Lack of a symphonic culture in Spain meant that audiences were not prepared to comprehend Wagner's complexity, but that same complexity made Wagner's ideas acceptable to Spanish reformers who saw in the composer an exemplar of the European ideas needed to fix Spanish problems. Thus, when Wagner's operas were first staged in Spain, the Teatro Real de Madrid stressed Wagner's continuity with operas of the past; however, critics and audiences engaged with the works as difficult forms of modern music. The rejection of Wagner in the Spanish capital cleared the way for his ideas to be adopted in Catalonia. A similar dynamic occurred as Spanish composers tried to meld Wagner into their attempts to build a nationalist school of opera composition. The failure of Tomás Bréton's Los amantes de Teruel and Garín cleared the way for Felip Pedrell's more successful theoretical fusion of Wagnerism and nationalism. While Pedrell's opera Els Pirineus was a failure, his explanation of how Wagner's ideals and nationalism could be fused in the treatise Por nuestra música cemented the link between Catalan culture and Wagnerism.

SIGNS and MEANINGS: Pataphallics: Jarry’s Novels and Ityphallicism

2014 ◽  
Vol 3 (2) ◽  
pp. 80-89
Author(s):  
Jean-Michel Rabaté
Keyword(s):  
Alfred Jarry ◽  
The Past ◽  
The Future ◽  
World Records

Abstract This article discusses Alfred Jarry as a precursor of French modernism. With a particular focus on Messaline, Roman de l’ancienne Rome (1901) and Le Surmâle, Roman moderne (1902), I analyse the subtle ways in which the past and the future are intertwined and Jarry’s philosophy of sexual excess. In both novels, the main characters seek a paroxysmal erotic pleasure from which they die after reaching world records in sex-making. Read together, the novels work to create a lemniscate, the symbol of infinity symbolically represented, in modernism, by the speeding bicycle. In both novels, sexual excess leads to a superhuman transformation of women and men into a rigid phallus, underlying which is the fantasy of bisexualism.

scholarly journals Restoring the real world records in Men’s swimming without high-tech swimsuits

2020 ◽  
Vol 16 (4) ◽  
pp. 291-300
Author(s):  
Zhenyu Gao ◽  
Yixing Li ◽  
Zhengxin Wang
Keyword(s):  
Real World ◽  
Technical Skills ◽  
High Tech ◽  
Training Methods ◽  
Strong Indication ◽  
The Real ◽  
The Past ◽  
Optimal Estimates ◽  
World Records ◽  
And Training

AbstractThe recently concluded 2019 World Swimming Championships was another major swimming competition that witnessed some great progresses achieved by human athletes in many events. However, some world records created 10 years ago back in the era of high-tech swimsuits remained untouched. With the advancements in technical skills and training methods in the past decade, the inability to break those world records is a strong indication that records with the swimsuit bonus cannot reflect the real progressions achieved by human athletes in history. Many swimming professionals and enthusiasts are eager to know a measure of the real world records had the high-tech swimsuits never been allowed. This paper attempts to restore the real world records in Men’s swimming without high-tech swimsuits by integrating various advanced methods in probabilistic modeling and optimization. Through the modeling and separation of swimsuit bias, natural improvement, and athletes’ intrinsic performance, the result of this paper provides the optimal estimates and the 95% confidence intervals for the real world records. The proposed methodology can also be applied to a variety of similar studies with multi-factor considerations.

“A composItIon wrItten wIthout creatIve lImItatIons” – Wanda Landowska and concerto for harpsichord and five instruments by ManueL de Falla (1923)

2021 ◽  
Vol 1 (15) ◽  
pp. 67-107
Author(s):  
Ines R. Artola
Keyword(s):  
Strict Sense ◽  
Sonata Form ◽  
Historical Sources ◽  
Avant Garde ◽  
20Th Century Music ◽  
The Third ◽  
Word Analysis ◽  
The Past ◽  
History Of ◽  
The One

The aim of the present article is the analysis of Concerto for harpsichord and five instruments by Manuel de Falla – a piece which was dedicated by the composer to Wanda Landowska, an outstanding Polish harpsichord player. The piece was meant to commemorate the friendship these two artists shared as well as their collaboration. Written in the period of 1923-1926, the Concerto was the first composition in the history of 20th century music where harpsichord was the soloist instrument. The first element of the article is the context in which the piece was written. We shall look into the musical influences that shaped its form. On the one hand, it was the music of the past: from Cancionero Felipe Pedrell through mainly Bach’s polyphony to works by Scarlatti which preceded the Classicism (this influence is particularly noticeable in the third movement of the Concerto). On the other hand, it was music from the time of de Falla: first of all – Neo-Classicism and works by Stravinsky. The author refers to historical sources – critics’ reviews, testimonies of de Falla’s contemporaries and, obviously, his own remarks as to the interpretation of the piece. Next, Inés R. Artola analyses the score in the strict sense of the word “analysis”. In this part of the article, she quotes specific fragments of the composition, which reflect both traditional musical means (counterpoint, canon, Scarlatti-style sonata form, influence of old popular music) and the avant-garde ones (polytonality, orchestration, elements of neo-classical harmony).

The Cultural Context of Reception:

2012 ◽  
Vol 3 (2) ◽  
pp. 38-55
Author(s):  
Riikka Korppi-Tommola
Keyword(s):  
Cultural Context ◽  
Theoretical Framework ◽  
High Expectations ◽  
Cultural Contexts ◽  
Avant Garde ◽  
Cultural Perspectives ◽  
The Past ◽  
Dance Company ◽  
Merce Cunningham ◽  
Encounter Time

Abstract The reception of the Merce Cunningham Dance Company and John Cage’s visit to Helsinki in 1964 revealed local, Finnish aesthetic priorities. In the dance critics’ texts, Cunningham’s style seemed to create confusion, for example, with its mixture of styles visà-vis avant-garde music. Music critics, mainly avant-garde and jazz musicians, had high expectations for this theatrical event. In their reviews, comparisons were made between Cunningham’s style and the productions of Anna Halprin. In this paper, I analyse the cultural perspectives of this encounter and utilize the theoretical framework of Thomas Postlewait’s pattern of cultural contexts. Additionally, I follow David M. Levin’s argumentation about changes in aesthetics. Local and foreign conventions become emphasized in this kind of a transnational, intercultural encounter. Time and place are involved in the interpretations of the past as well as later in the processes of forming periods.

scholarly journals Raupp: 50 years of neuroradiology

2011 ◽  
Vol 69 (3) ◽  
pp. 552-554
Author(s):  
Daison Nelson Ferreira Dias
Keyword(s):  
Computed Tomography ◽  
Literature Review ◽  
Search Term ◽  
Medical Residency ◽  
Residency Programs ◽  
Avant Garde ◽  
The Past ◽  
Therapeutic Techniques

OBJECTIVE: Evaluate the laboral and intellectual contributions of a founder of Brazilian Neuroradiology to the development of specialty. METHOD: Interviews were conducted with Dr. Raupp and contemporary doctors. Then we made a literature review with the Raupp search term aiming to identify those papers which included major changes in the diagnostic and therapeutic neurosurgical. RESULTS: The colleagues consulted were unanimous in recognizing the work of avant-garde and the importance of Dr. Raupp to the development of neuroradiological methods, especially in the pre-computed tomography fase. CONCLUSION: The work of Dr. Raupp was fundamental for the consolidation of Brazilian Neuroradiological School over the past five decades. He developed diagnostic and therapeutic techniques in congruence with the practices of the specialty on the global stage and he promoted education through medical residency programs.

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