|
|
 |
|
|
|
 |
|
|
|
Some interesting search results:
Crisis in Contemporary Music | Music Articles
To be fair the BBC has had considerable experience and a proven track
record but in todays musical environment there are many more factors
and unknown social variables. I believe that they do need to keep in
touch with public taste and interest and not always consider it can
dictate the evolution of the language of music. By the nature of both
reputation and cultural heritage, it has to walk a tightrope of
academic and artistic validity. Sometimes I feel in the last forty
years it has stumbled, and as we all know it is the stumble that
provokes the gasp that the crowd remember.
http://www.emusicguides.com/info/Music/-Crisis--in-Contemporary-Music--What-Crisis.html
Classical music: Its place in life | The Economist
The gulf separating audiences and modern music is the subject of Ivan
Hewett's ambitious and passionate book. Each chapter examines an aspect
of the crisis which arose when a sense of musical taste shared by
listeners and composers was replaced by more romantic notions of
personal inspiration and ever more extreme forms of expression. Mozart
and Wagner represent quite different attitudes towards subjectivity and
musical experience, but they are both part of the Austro-German
tradition.
http://www.economist.com/node/2189083
Acclaimed Oberlin Contemporary Music Ensemble to
perform with Violinist Jennifer Koh at New York City's Miller Theatre
One of the world's best-known living composers, György Ligeti is widely
acknowledged as a musical pioneer of the late-20th century, forging his
own musical alternative to a general stylistic crisis in the
mid-century avant-garde. That alternative, based on texture and
sound density, has become one of the major influences on contemporary
music. The Oberlin and New York programs will include
Ramifications; Mysteries of the Macabre from
the opera Le Grand Macabre, with Evans as trumpet
soloist; Sippal, Dobbal, Nádihegedüvel, with the Oberlin
Percussion Group and Manz as soloist; and Violin
Concerto with Koh as soloist.
http://www.oberlin.edu/newserv/05sep/cmeMillerTheaterRelease.html
Western classical music - Definition
Classical composition often aspires to a very complex relationship
between the affective (emotional) content of the music, and the
idea content. There is, in the most esteemed works of Classical
music, an intensive use of Musical development , the process by
which a musical germ idea or motif is repeated in different
contexts, or in altered form, so that the mind of the listener
consciously or unconsciously compares the different versions. The
classical genres of sonata form and fugue
employ particularly rigorous forms of musical development.
http://www.wordiq.com/definition/Western_classical_music
Atonality - Wikipedia, the free encyclopedia (1)
The twelve-tone technique was also preceded by nondodecaphonic serial
composition used independently in the works of Alexander Scriabin
, Igor Stravinsky , Béla Bartók , Carl Ruggles , and
others (Perle 1977, 37). "Essentially, Schoenberg and Hauer
systematized and defined for their own dodecaphonic purposes a
pervasive technical feature of 'modern' musical practice, the
ostinato " (Perle 1977, 37).
http://en.wikipedia.org/wiki/Atonality
Atonality - Wikipedia, the free encyclopedia (2)
Swiss conductor, composer, and musical philosopher Ernest
Ansermet , a critic of atonal music, wrote extensively on this in the
book Les fondements de la musique dans la conscience
humaine (Ansermet 1961), where he argued that the classical
musical language was a precondition for musical expression with its
clear, harmonious structures. Ansermet argued that a tone system can
only lead to a uniform perception of music if it is deduced from just a
single interval. For Ansermet this interval is the fifth (Mosch 2004,
96). Modern atonal music, incomprehensible to Ansermet, chooses
interval relations seemingly at random and cannot achieve such an
impact, ethos, or catharsis for an audience.
http://en.wikipedia.org/wiki/Atonality
Apart from these broader cultural influences which
contribute to the shaping of our contemporary musical psyche, we
also have to take into account the rather bewildering legacy of the
earlier twentieth-century composers in the matter of compositional
technique and procedure. Although we must be impressed by the enormous
accruement of new elements of vocabulary in the areas of pitch, rhythm,
timbre, and so forth, I sense at the same time the loss of a majestic
unifying principle in much of our recent music. Not only is the
question of tonality still unresolved but we have not yet evolved
anything comparable to the sure instinct for form which occurs
routinely in the best traditional music. Instead, each new work seems
to require a special solution, valid only in terms of itself.
http://www.georgecrumb.net/future.html
Opera Today : Return to the Origins — Chamber
Opera in Crisis Times
Much current popular culture assumes that its audience is knowledgeable
of the American musical. References to, and parodies of, specific
musicals are frequently a part of episodes of The Simpsons
and South Park , and ads for companies as diverse as The Gap and
the World Wrestling Entertainment promotion recently have restaged
numbers from West Side Story to plug their products or
events. Rarely, if ever, are the sources acknowledged; it is simply
taken for granted that a general audience will understand the
quotations and parodies.
http://www.operatoday.com/content/2009/09/return_to_the_o.php |
|
|
|
|
|
|
|
 |
|
|
|
|
Mehmet Okonsar is a
pianist-composer-conductor and musicologist. Besides his international
concert carrier he is a prolific writer. He is the founder of the
first classical music-musicology dedicated blog site: "inventor-musicae"
as well as the first classical-music video portal : http://www.classicalvideos.net.
Mehmet Okonsar's official site: http://www.okonsar.com |
|
|
|
|
|
|
|
|
|
|
|
|
Inspiration by
Tzvi Freeman...
A philosopher cannot pray--unless he loses his mind. A pragmatist does
not pray until he loses control. Prayer, like love, is more about
losing yourself than it is about finding any great truth. [read more...]
|
|
|
|
|
|
|
|
|
|
|
|
|
Fortune: A
musician of more ambition than talent composed an elegy at the death of
composer Edward MacDowell. She played the elegy for the pianist Josef
Hoffman, then asked his opinion. "Well, it's quite nice," he replied,
but don't you think it would be better if..."
"If what?" asked the composer.
"If ... if you had died and MacDowell had written the elegy?" |
|
|
|
|
|
|
|
|
This email is sent by me, Mehmet Okonsar (mehmet@okonsar.com)
The company Streamsend
is in charge of delivering my emails.
My street address is: Mesnevi S. 46/15 TR-06690 Ankara - Turkey
Phone: + 90 312 438 0917 - GSM: + 90 533 767 1899
|
|
image from Wikimedia
image from Wikimedia