In the Absence of the Avant-Garde – Atonality, Satire and De-Romanticisation in the Musical Life of Norway

2019 ◽  
pp. 560-578
Keyword(s):  
Musical Life ◽  
Avant Garde

The internationalization of musical life at the end of the nineteenth century in modernized Paris and Rome

Urban History ◽  
2013 ◽  
Vol 40 (4) ◽  
pp. 663-680
Author(s):  
GESA ZUR NIEDEN
Keyword(s):  
Nineteenth Century ◽  
Musical Theatre ◽  
Musical Life ◽  
Avant Garde ◽  
Limited Availability ◽  
Urban Renovation ◽  
The Relationship

ABSTRACT:This article examines the relationship between the processes of urban renovation in European capitals and the internationalization of musical theatre productions, using the example of theatres constructed in Paris and Rome at the end of the nineteenth century. Due to the limited availability of governmental and municipal funding, the more popular theatres in both capitals came to provide an important space for musical productions on an avant-garde level, with international repertoires and casts.

Chávez (y Ramírez), Carlos (Antonio de Padua) (1899–1978)

2018 ◽  
Author(s):  
Christina Taylor Gibson
Keyword(s):  
Twentieth Century ◽  
Classical Music ◽  
Symphony Orchestra ◽  
Musical Life ◽  
Avant Garde ◽  
Carlos Chavez

Composer and conductor Carlos Chávez was a dominant force in Mexican musical life during the middle of the twentieth century. His most influential post was as director of the Symphony Orchestra of Mexico [OrquestaSinfónica, OSM], which he led from 1928 to 1948. While leading the OSM, Chávez successfully broadened concepts of classical music to include symphonic, contemporary works by Mexican composers. At the same time, he began an international guest-conducting career that continued into the final years of his life. Although best known for a handful of nationalist works composed in the 1920s and 1930s, Chávez’s compositions demonstrate a diversity of esthetic interests, from avant-garde abstraction to popular genres; regardless of the approach used in a given work, Chávez’s intellectualism and care are evident.

scholarly journals From modernism to socialist realism in four years: Myaskovsky and Asafyev

Muzikologija ◽  
2003 ◽  
pp. 199-217
Author(s):  
Marina Frolova-Walker
Keyword(s):  
Socialist Realism ◽  
Great Success ◽  
Musical Life ◽  
Avant Garde ◽  
Real Danger

Two outstanding personalities of the Soviet musical life in the 1920's, the composer Nikolay Myaskovsky and the musicologist Boris Asafyev, both exponents of modernism, made volte-faces towards traditionalism at the beginning of the next decade. Myaskovsky's Symphony no. 12 (1931) and Asafyev's ballet The Flames of Paris (1932) became models for Socialist Realism in music. The letters exchanged between the two men testify to the formers uneasiness at the great success of those of his works he considered not valuable enough, whereas the latter was quite satisfied with his new career as composer. The examples of Myaskovsky and Asafyev show that early Soviet modernists made their move away from avant-garde creativity well before they faced any real danger from the bureaucracy.

scholarly journals Crisis concealing light

Muzikologija ◽  
2016 ◽  
pp. 63-70
Author(s):  
Katy Romanou
Keyword(s):  
Cold War ◽  
Cultural Politics ◽  
Debt Crisis ◽  
Substantial Portion ◽  
Musical Life ◽  
Avant Garde ◽  
The People ◽  
The Eu

In this article I discuss the blossoming of musical life in Greece that begun in 1974, simultaneously with the growth of the debt crisis. Communist musicians returned from exile and they were hailed as heroes while their music became indispensible to pre-electoral gatherings. Connected to the return to democracy, music and musicians became extremely important to politicians and loved by the people, and were offered a substantial portion of the money that poured in from the EU. Cold War cultural politics played their role in promoting avant-garde music as well. In comparison, today Greece has a great number of excellent musicians and the architectural infrastructure for the performance and study of music, but these are concealed by the daily hammering of crisis news.

Cracking the Dutch Early Music Movement: the Repercussions of the 1969 Notenkrakersactie

2009 ◽  
Vol 6 (1) ◽  
pp. 3-22 ◽  
Author(s):  
KAILAN R. RUBINOFF
Keyword(s):  
Contemporary Music ◽  
New Music ◽  
Musical Life ◽  
Early Music ◽  
Music Schools ◽  
Avant Garde ◽  
Music Ensembles ◽  
Historical Performance ◽  
Early Music Movement ◽  
Music Programming

AbstractThe Notenkrakersactie of 17 November 1969 was a landmark event for Dutch musical life: a group of composers disrupted a concert of the Concertgebouw Orchestra, protesting against the orchestra's lack of contemporary music programming. Scholars have tended to interpret this protest as a watershed for the avant-garde, but historical performance – not just contemporary music – proved to be a significant beneficiary. Early Musicians, like New Musicians, had common political goals and appealed to the youth counterculture. Ensuing reforms to the federal arts subsidy system, state-funded music schools, and conservatories in the 1970s were also advantageous for the Dutch Early Music movement. During the welfare retrenchment of the 1980s and the subsidy restructuring of the 1990s, Early Music ensembles economized and had greater success with mainstream recording companies and audiences than new music groups. Nearly forty years after the Notenkrakersactie, traditional symphony orchestras have less influence on Dutch musical life, but recent cutbacks to arts subsidies threaten contemporary music and historical performance alike.

Malipiero, Gian-Francesco (1882–1973)

2018 ◽  
Author(s):  
Peter Roderick
Keyword(s):  
Early Life ◽  
Public Life ◽  
Claudio Monteverdi ◽  
Musical Life ◽  
Gabriele D'annunzio ◽  
Italian History ◽  
Italian Fascism ◽  
Avant Garde ◽  
Rite Of Spring ◽  
Italian Modernism

Gian-Francesco Malipiero was an Italian composer whose life spanned an expansive period of Italian history, from the post-Risorgimento years through two disastrous wars and into the turbulent anni di piombo. Remembered as a Venetian tied to his beloved Asolo in the hills of the Veneto, Malipiero in fact spent his formative years in a variety of locations. His cosmopolitan upbringing took him to Trieste, Vienna, Paris, Berlin, and Bologna, where he absorbed a diversity of influences and studied with an array of tutors. Two principal musical spheres influenced his early life: Parisian modernism (he attended the riotous premiere of Stravinsky’s The Rite of Spring in 1913) and the secondaprattica of Claudio Monteverdi, whose renaissance works he studied and later edited in their entirety—antique music would form a thread of meaning that wove through much of his later work. Into the 1920s, Malipiero spent frequent amounts of time in Rome and was (with Casella and the poet Gabriele d’Annunzio) a founding member of the avant-garde group the CorporazionedelleNuoveMusiche. This was the era in which Italian modernism and Italian Fascism formed an uneasy partnership, and this group played its role in the bombastic nationalism of the 1920s. Yet, despite a burgeoning friendship with Mussolini, Malipiero’s career was almost derailed in 1932 when the fascist "Manifesto of Italian Musicians for the tradition of Nineteenth-Century Romantic Art" criticised his music heavily, and in 1934 his opera Il FigliodellaCambiata was banned by the authorities due to its subversive libretto by Pirandello. From the war years onwards, Malipiero retreated from public life and spent longer periods in Asolo, with his influence on Italian musical life felt most keenly in his tutelage of a young Luigi Nono and Bruno Maderna.

scholarly journals Rudolf Bruči and the criticism of the European avant-garde

2015 ◽  
Vol 56 (4) ◽  
pp. 429-441
Author(s):  
Nemanja Sovtić
Keyword(s):  
National Level ◽  
Art Music ◽  
Musical Life ◽  
Postwar Art ◽  
Avant Garde ◽  
Modern Development ◽  
Technological Advances ◽  
South Eastern Europe ◽  
Novi Sad ◽  
Developmental Line

Yugoslav composer Rudolf Bruči is known on the international scene primarily as the author of Sinfonia Lesta, a composition winning the first prize in 1965 at the Queen Elizabeth Competition in Belgium. On a national level, Bruči was a powerful social entity, not only in respect of his creative freedom. As a member of the League of Communists, Bruči spent a lifetime as an official in social organizations and cultural institutions, thus dictating the rhythm of musical life of Novi Sad and the Province of Vojvodina, until the collapse of Socialism when he was suddenly forgotten. The developmental line of Bruči’s oeuvre – leading from Zhdanovian national classicism, through the adoption of elements of the European avant-garde, to the reaffirmation of a national/regional idiom in the mid-1970s – largely corresponds to the general tendencies of postwar art music in the socialist countries of Eastern and South-Eastern Europe. Bruči broke with the European avant-garde models not only in his creative practice, but he also reasoned it in the articles “The Composers’ Role in the Modern Development of Self-governing Socialist Society,” “Statements of Yugoslav Music Forum Composers’ Workgroup,” and “Manifesto of the ‘Third Avant- Garde’,” where he based his discourse on conformism, lack of communication and dehumanization of avant-garde, and in particular on Yugoslav ideological projects, such as self-management, non-alignment, and deprovincialization. The article analyzes the context in which Bruči’s creative transformation during the 1970s was expressed as the criticism of the Eurocentric cultural model, as well as the suspicion towards the imperative of modernization in a world obsessed with technological advances.

scholarly journals L’ambassadeur parisien de la nouvelle musique hongroise, Géza Vilmos Zágon Sa carrière et sa correspondance choisie

2017 ◽  
Vol 58 (2) ◽  
pp. 255-293
Author(s):  
Boglárka Illyés
Keyword(s):  
Claude Debussy ◽  
French Translation ◽  
Musical Life ◽  
Avant Garde ◽  
Original Language ◽  
French Culture ◽  
Selection Of

A forgotten figure of the new Hungarian musical movement of the 1910s, Géza Vilmos Zágon (1889–1918) was a talented composer, pianist and music writer. He belonged among those young composers who turned toward French culture instead of the traditional German orientation and searched for new inspiration in Paris. He was, at the same time, one of the few to be personally acquainted with leading personalities of the city’s musical life: letters by Claude Debussy, Michel-Dimitri Calvocoressi, Louis Laloy, Émile Vuillermoz and Albert Zunz Mathot have survived in his legacy. During his stay in France between 1912 and 1914, he acted as the representant of the former UMZE (Új Magyar Zene Egyesület, New Hungarian Music Association), and did not only bring attention to himself as a performer of his own works, but was also instrumental in promoting those by Bartók and Kodály. In the present study, I seek to demonstrate that Zágon served as an important liaison for Bartók’s circle with some of the most influential groups of French avant-garde, the Société Musicale Indépendante, as well as Calvocoressi. In an effort to document these important relationships as well as Zágon’s activity, I publish a selection of his correspondence in original language, with French translation provided where appropriate.

scholarly journals Soviet Musical Avant-Garde in the Context of Time (in the mid. 1950s – 1980s): Historical and Cultural Studies and Philosophical Aspects

Discourse ◽  
2020 ◽  
Vol 6 (1) ◽  
pp. 21-37
Author(s):  
O. V. Andreeva
Keyword(s):  
Soviet Union ◽  
Cultural History ◽  
The Political ◽  
Special Role ◽  
Musical Life ◽  
Global Trends ◽  
Avant Garde ◽  
Interdisciplinary Approaches ◽  
Cultural Processes ◽  
Annales School

Introduction. Interest in the work of avant-garde artists does not wane as they move away from the 20th century. This is due to the fact that the musical avant-garde, becoming a sign of the time, reflected the most important trends of the outgoing era. In the paper, the Soviet musical avant-garde is considered in the historical, cultural and philosophical aspect in the context of the historical era, which determines the novelty of the study. An aspect of novelty is the analysis of music as a sphere of intercultural communication.Methodology and sources. The research methodology is based on the analysis of sources and literature, taking into account interdisciplinary approaches. A special role in the understanding of the theoretical aspects of the problem play the work of musicologists Yu. N. Kholopova, V. N. Kholopova, V. S. Price, R. L. Pospelova, A. I. Demchenko. Among the sources highlighted in cinema, photo- and phonodocuments, which depicts a vivid image of the era. The interviews with composers, which presents a wide canvas of social and musical life (A. Schnittke, A. Ivashkina entry and volkonskii, recording E. Dubinets) are of considerable interest. Historical, comparative, systematic and semiotic methods of analysis were used. Applies a comprehensive approach (formation and civilization methods of research and the Annales school). This allows for a new approach to the historical era of the middle1950s – 1980s.Results and discussion. Postwar culture is examined as a single space, in which a special role was played by the impulses of the “thaw”. They gave cultural phenomena such inertial dynamics, which preserves the spiritual maturity of society and produced changes of the 1990s, the results of the study show that in contrast to the political and socio-economic processes, cultural life in these years continued to feel the pulses of the “thaw”. Retaining the inertial dynamics of development, cultural processes have been far from stagnation, which casts doubt on the overall rating this time as the “era of stagnation”. This allows you to put a discussion question on the revision of the political clichés in relation to the period of the middle 1960s – 1980s in the Soviet Union as the “era of stagnation”.Conclusion. Soviet avant-garde, expressing the spirit of the time, represents the unique phenomenon in which reflected global trends, and the uniqueness of national culture. Experience avant-garde shows that cultural processes of the epoch middle 1950s – 1980s had a high development dynamics. The study of this period, especially in its spiritual sphere, requires interdisciplinary approaches and the use of modern, including foreign methods. Interest methods of the Annales school in its historical retrospect and the “new cultural history”.

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