Cardew, Cornelius (1936–1981)

2018 ◽  
Author(s):  
Edward Venn
Keyword(s):  
Twentieth Century ◽  
Royal Academy ◽  
Experimental Music ◽  
Piano Sonata ◽  
Avant Garde ◽  
Musical Education ◽  
Political Activist ◽  
Hit And Run ◽  
The 1960S ◽  
The Relationship

Cornelius Cardew was a leading figure in British experimental music in the 1960s and a committed political activist in the 1970s. His earlier music, particularly that inspired by Cage, demonstrates on going concerns with the relationship between composer and performer, not least in the emphasis placed on improvisation. His later politically motivated music abandoned avant-garde and experimental principles in favor of a direct, tonal idiom. He died after a hit-and-run incident in East London. Cardew’s musical education was conventional; first as a boy chorister at Canterbury Cathedral (1943–50) and then at the Royal Academy of Music (1953–57). He had a philosophical nature too, apparent in his enduring fascination with Wittgenstein’s Tractutus. Cardew familiarized himself early on with early-twentieth-century serialism and increasingly with the continental avant-garde: at nineteen, he gave (together with fellow student Richard Rodney Bennet) the London premiere of Pierre Boulez’s Structures I and taught himself guitar in order to participate in the 1957 London premiere of LeMarteau Sans Maître. Many of Cardew’s compositions of this era reflected such interests, as in his Piano Sonata No. 2 (1956).

Border Blurs

2019 ◽  
Author(s):  
Greg Thomas
Keyword(s):  
Twentieth Century ◽  
Social Reconstruction ◽  
Scottish Literature ◽  
Concrete Poetry ◽  
Artistic Style ◽  
Early Twentieth Century ◽  
Counter Culture ◽  
The Sixties ◽  
The 1960S ◽  
The Relationship

This book presents the first in-depth account of the relationship between English and Scottish poets and the international concrete poetry movement of the 1950s-70s. Concrete poetry was a literary and artistic style which reactivated early-twentieth-century modernist impulses towards the merging of artistic media while simultaneously speaking to a gamut of contemporary contexts, from post-1945 social reconstruction to cybernetics, mass media, and the sixties counter-culture. The terms of its development in England and Scotland also suggest new ways of mapping ongoing complexities in the relationship between those two national cultures, and of tracing broader sociological and cultural trends in Britain during the 1960s-70s. Focusing especially on the work of Ian Hamilton Finlay, Edwin Morgan, Dom Sylvester Houédard, and Bob Cobbing, Border Blurs is based on new and extensive archival and primary research. It fills a gap in contemporary understandings of a significant literary and artistic genre which has been largely overlooked by literary critics. It also sheds new light on the development of British and Scottish literature during the late twentieth century, on the emergence of intermedia art, and on the development of modernism beyond its early-twentieth-century, urban Western networks.

scholarly journals From Microphone to the Wire: Cultural change in 1970s and 1980s music writing

2019 ◽  
Vol 16 (3) ◽  
pp. 531-555
Author(s):  
STEPHEN GRAHAM
Keyword(s):  
United States ◽  
Cultural Change ◽  
White Male ◽  
Experimental Music ◽  
Avant Garde ◽  
Music Scenes ◽  
Independent Music ◽  
Attitude And Practice ◽  
The 1960S ◽  
The Uk

AbstractIn this article I examine localized cultural change that nevertheless serves as an applied instance of broader change. Focusing mostly on British, white male musicians and music writers active in the improvised and experimental music scenes of the UK (and, to a lesser extent, United States and Europe) across the 1970s and early 1980s, I identify clear shifts in taste, attitude, and practice. These shifts arc across what Ben Piekut calls the ‘mixed avant-garde’ of the 1960s to what I describe as the ‘unpop avant-garde’ of the late 1970s and 1980s, in which influences from popular and non-Western music play more significant roles than before and liminal, quasi-popular practices such as noise are in the emergence. I trace the appearance of the unpop avant-garde through independent music publications from the period, most prominently Microphone, Musics, Collusion, Impetus, and Re/Search, using these published scene discourses as barometers of the musical atmosphere of the time.

The Spatial Expansion of Language in Sound Poetry of Western and Eastern Europe

2016 ◽  
Author(s):  
Endre Szkárosi
Keyword(s):  
Twentieth Century ◽  
Comparative Study ◽  
Eastern Europe ◽  
Pop Music ◽  
Spatial Expansion ◽  
Avant Garde ◽  
Sound Poetry ◽  
The 1960S ◽  
The Given

This chapter offers an analysis of the process in which Hungarian poetry “takes back” (recuperates) the vocal and sonic dimensions of language in the second half of the twentieth century. Together with its actional parallels and consequences, this progress implicates a powerful functionalization of the performativity in poetry, which, for various reasons, was neglected in historical avant-garde poetry in Hungary. New avant-garde and experimental waves in art and influences of radical pop music were much more productive in this sense from the 1960s on, and several inspirations of Western cultural trends helped to form a particular underground scene, mainly in the 1980s. Contextualizing these phenomena, the author makes a comparative study of the main tendencies of the given period on such a field in Euro-American sound poetry experimentations (Futurism, Dada, Fluxus), while highlighting some outstanding works of Hungarian poets and groups, such as Tibor Papp, Katalin Ladik, and Konnektor.

Experimentation and Improvisation in Bogotá at the End of the Twentieth Century

2018 ◽  
Author(s):  
Rodolfo Acosta
Keyword(s):  
Twentieth Century ◽  
Experimental Music ◽  
Avant Garde ◽  
Music Ensembles ◽  
Colombian Music ◽  
Governmental Institutions ◽  
Academic Tradition

This chapter explores how experimentation and improvisation became meaningful within the Colombian Western academic tradition. Acosta provides a musicological report of the evolution of experimental composition, interpretation, and improvisation in Bogotá toward the end of the twentieth century. The rise of atonality, electroacoustic and mixed music, indeterminacy, and other avant-garde movements from the late 1950s onward, are sketched as direct precedents for the rise of experimental improvisational practices since the 1980s. These tendencies grew into a rich field within Colombian music throughout the last decades of the century, with the appearance of improvisation/experimental music ensembles in which composers, performers, and improvisers found creative outlets. This process is traced, along with the significant proliferation of performance situations, as well as the reactions of artistic, educational, and governmental institutions to the developing field.

Avant-Folk: Small Press Poetry Networks from 1950 to the Present

2017 ◽  
Author(s):  
Ross Hair
Keyword(s):  
Twentieth Century ◽  
American Poetry ◽  
Close Attention ◽  
Avant Garde ◽  
Small Press ◽  
Lorine Niedecker ◽  
American Poets ◽  
The Many ◽  
The Relationship ◽  
Comprehensive Study

Avant-Folk is the first comprehensive study of a loose collective of important British and American poets, publishers, and artists (including Lorine Niedecker, Ian Hamilton Finlay, and Jonathan Williams) and the intersection of folk and modernist, concrete and lyric poetics within the small press poetry networks that developed around these figures from the 1950s up to the present day. This book argues that the merging of the demotic with the avant-garde is but one of the many consequences of a particularly vibrant period of creative exchange when this network of poets, publishers, and artists expanded considerably the possibilities of small press publishing. Avant-Folk explores how, from this still largely unexplored body of work, emerge new critical relations to place, space, and locale. Paying close attention to the transmission of demotic cultural expressions, this study of small press poetry networks also revises current assessments regarding the relationship between the cosmopolitan and the regional and between avant-garde and vernacular, folk aesthetics. Readers of Avant-Folk will gain an understanding of how small press publishing practices have revised these familiar terms and how they reconceive the broader field of twentieth-century British and American poetry.

scholarly journals Poezja i obraz, piśmienność i wizualność od 1989 roku

Wielogłos ◽  
2020 ◽  
pp. 37-56
Author(s):  
Anna Kałuża
Keyword(s):  
Twentieth Century ◽  
Visual Artists ◽  
Text And Image ◽  
Avant Garde ◽  
Verbal Representation ◽  
History Of ◽  
The Subject ◽  
The Difference ◽  
The Relationship

Poetry and Image, Literacy and Visuality after 1989 The article traces the history of the relationship between linguistic (textual, verbal, discursive) elements and graphic, visual, and pictorial elements in Polish poetry after 1989. The subject of interest here are various phenomena, such as: artistic books (by Natalia Malek, Kira Pietrek, and Justyna Bargielska), reference to painting/film/ photography, experiments with visual and verbal representation, using a language mark/text by visual artists. The goal is not so much to catalog the relationships between text and image, but to describe the difference between artistic activities in the era of intermedia (twentieth-century avant-garde) and artistic activities in the era of transmedia.

Auditory Mirrors

2019 ◽  
pp. 740-764
Author(s):  
Sabine Sanio
Keyword(s):  
Twentieth Century ◽  
Public Spaces ◽  
John Cage ◽  
Avant Garde ◽  
Musical Idea ◽  
General Goal ◽  
The Relationship

With the general goal of describing “how music understands itself socially and politically,” Sabine Sanio starts out by focusing on the musical neo-avant-garde, and especially on John Cage, and continues by discussing aspects of the musical idea of space. Although her chapter draws on several threads reaching back to the beginning of the twentieth century, the central topics of the chapter are current issues dealing with musical explorations of the sound itself, modern data technologies, and public spaces. Using a number of examples, Sanio discusses how the relationship between composers and audiences is both socially and aesthetically challenged by redefinitions of the concept of space and character of the musical live event—or live-like event.

The Vagrancy Law Challenge and the Vagaries of Legal Change

2018 ◽  
Vol 43 (04) ◽  
pp. 1669-1685
Author(s):  
Laura Weinrib
Keyword(s):  
Twentieth Century ◽  
Social Movement ◽  
Social Stratification ◽  
Legal Change ◽  
Intermediary Organization ◽  
The Supreme Court ◽  
History Of ◽  
The 1960S ◽  
The Relationship ◽  
Alternative Reading

This essay reflects on the relationship between the diffuse legal struggle to dismantle vagrancy laws during the 1960s and the larger history of twentieth-century social movement advocacy. In Vagrant Nation, Risa Goluboff persuasively links the demise of vagrancy laws to the cultural and constitutional turmoil of the 1960s. It is possible, however, to interpret that decade's upheaval, which rendered explicit social stratification increasingly vulnerable, as an impediment to a budding anti-vagrancy law consensus instead of a prerequisite for legal change. On this alternative reading, the uncoordinated legal efforts to overturn vagrancy laws in a decade dominated by more contentious litigation campaigns may have contributed to a tepid decision by the Supreme Court, which ultimately invalidated vagrancy laws on narrow legalistic grounds. Indeed, the relatively protracted dismantlement of the vagrancy law regime raises the question whether bottom-up constitutionalism lacks potency in the absence of an intermediary organization with a well-defined litigation strategy.

scholarly journals MUSEUM IN THE PROCESS. SELECTED TENDENCIES IN 20TH-CENTURY MUSEOLOGY

Muzealnictwo ◽  
2020 ◽  
Vol 61 ◽  
pp. 96-105
Author(s):  
Aldona Tołysz
Keyword(s):  
Modern Society ◽  
Past Century ◽  
Avant Garde ◽  
Operating Modes ◽  
The Status ◽  
The 1960S ◽  
The One ◽  
The 19Th Century ◽  
The Relationship ◽  
New Museology

The debate on the museum definition undertaken at the 2019 Kyoto ICOM General Conference points to the role played contemporarily by museums and the expectations they have to meet. It also results as a consequence of changes happening in museums beginning as of the 19th century until today. Extremely important processes took place in the past century. Initially, the changes covered the museum operating methods, mainly within museum education and display, however, they also had an impact on the status of objects in museum collections in the context of artistic and ethnographic collections. One of the most interesting ideas for museum’s redefinition was that proposed in the 1st half of the 20th c. in the formula of Museums of Artistic Culture. However, the departure from the traditionally conceived museum towards a ‘laboratory of modernity’ proposed by the Russian Avant-garde was still too revolutionary for its times. Beginning as of the 1960s, next to the reflection on museums’ operating modes, there increased the emphasis on the role they played and the one they should play in modern society. It was phenomena of political, social or economic character that had a direct impact on the transformation of the shape of museums, these phenomena appearing under the banners of globalization, liberalization, democratization, glocalization. Criticism of museums and their up-to-then praxes drew attention to the essential character of the relation between the institution and its public. The turn towards society allowed for such formats to appear as an ecomuseum, participatory museum, open museum. The solutions derived from the New Museology not only point to the necessity to move the level of the relationship between museum and society, but first and foremost to reflect on museum’s activity which is assumed to create an institution maximally transparent and ethical. It is for various reasons that not all the solutions proposed by museums meet the criteria. Museums continue to face numerous challenges, yet they boast potential to face them.

Gramatges [Leyte Vidal], Harold (1918–2008)

2018 ◽  
Author(s):  
Mario Rey
Keyword(s):  
Twentieth Century ◽  
Music Education ◽  
Education System ◽  
Experimental Music ◽  
Compositional Style ◽  
Avant Garde ◽  
Founding Member

Harold Gramatges was a leading composer, pianist, conductor, and educator during the second half of the twentieth century in Cuba. He was a founding member of the experimental music circle GrupoRenovación Musical and an advocate of contemporary national expression based on the mastering of the classic forms. His extensive catalogue reflects the synthesis of various esthetic tendencies with techniques of the musical avant-garde, and a compositional style frequently characterized by dissonant, contrapuntal procedures. He made important contributions to the country’s music education system.

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