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Modernism (music)
In music, modernism is an aesthetic stance underlying the period of change and development in musical language that occurred around the turn of the 20th century, a period of diverse reactions in challenging and reinterpreting older categories of music, innovations that led to new ways of organizing and approaching aspects of music such as harmony, melody, sound, and rhythm, and changes in aesthetic worldviews in close relation to the larger identifiable period of modernism in the arts of the time. The operative word most associated with it is "innovation". Its leading feature is a "linguistic plurality", which is to say that no one musical language, or modernist style, ever assumed a dominant position.
Inherent within musical modernism is the conviction that music is not a static phenomenon defined by timeless truths and classical principles, but rather something which is intrinsically historical and developmental. While belief in musical progress or in the principle of innovation is not new or unique to modernism, such values are particularly important within modernist aesthetic stances.
— Edward Campbell (2010, p. 37) [emphasis added]
Examples include the celebration of Arnold Schoenberg's rejection of tonality in chromatic post-tonal and twelve-tone works and Igor Stravinsky's move away from symmetrical rhythm.
Authorities typically regard musical modernism as a historical period or era extending from about 1890 to 1930, and apply the term "postmodernism" to the period or era after 1930. For the musicologist Carl Dahlhaus the purest form was over by 1910, but other historians consider modernism to end with one or the other of the two world wars.
Carl Dahlhaus describes modernism as:
an obvious point of historical discontinuity ... The "breakthrough" of Mahler, Strauss, and Debussy implies a profound historical transformation ... If we were to search for a name to convey the breakaway mood of the 1890s (a mood symbolized musically by the opening bars of Strauss's Don Juan) but without imposing a fictitious unity of style on the age, we could do worse than revert to Hermann Bahr's term "modernism" and speak of a stylistically open-ended "modernist music" extending (with some latitude) from 1890 to the beginnings of our own twentieth-century modern music in 1910.
Eero Tarasti defines musical modernism directly in terms of "the dissolution of the traditional tonality and transformation of the very foundations of tonal language, searching for new models in atonalism, polytonalism or other forms of altered tonality", which took place around the turn of the century. Other scholars such as James Hepokoski, J. P. E. Harper-Scott, Daniel Grimley, Annika Forkert, Laurenz Lütteken and Sebastian Wedler have argued for a broader understanding of turn-of-the-century musical modernism, one that is not predominantly defined by the historiographical narrative of the emancipation of dissonance.
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Modernism (music)
In music, modernism is an aesthetic stance underlying the period of change and development in musical language that occurred around the turn of the 20th century, a period of diverse reactions in challenging and reinterpreting older categories of music, innovations that led to new ways of organizing and approaching aspects of music such as harmony, melody, sound, and rhythm, and changes in aesthetic worldviews in close relation to the larger identifiable period of modernism in the arts of the time. The operative word most associated with it is "innovation". Its leading feature is a "linguistic plurality", which is to say that no one musical language, or modernist style, ever assumed a dominant position.
Inherent within musical modernism is the conviction that music is not a static phenomenon defined by timeless truths and classical principles, but rather something which is intrinsically historical and developmental. While belief in musical progress or in the principle of innovation is not new or unique to modernism, such values are particularly important within modernist aesthetic stances.
— Edward Campbell (2010, p. 37) [emphasis added]
Examples include the celebration of Arnold Schoenberg's rejection of tonality in chromatic post-tonal and twelve-tone works and Igor Stravinsky's move away from symmetrical rhythm.
Authorities typically regard musical modernism as a historical period or era extending from about 1890 to 1930, and apply the term "postmodernism" to the period or era after 1930. For the musicologist Carl Dahlhaus the purest form was over by 1910, but other historians consider modernism to end with one or the other of the two world wars.
Carl Dahlhaus describes modernism as:
an obvious point of historical discontinuity ... The "breakthrough" of Mahler, Strauss, and Debussy implies a profound historical transformation ... If we were to search for a name to convey the breakaway mood of the 1890s (a mood symbolized musically by the opening bars of Strauss's Don Juan) but without imposing a fictitious unity of style on the age, we could do worse than revert to Hermann Bahr's term "modernism" and speak of a stylistically open-ended "modernist music" extending (with some latitude) from 1890 to the beginnings of our own twentieth-century modern music in 1910.
Eero Tarasti defines musical modernism directly in terms of "the dissolution of the traditional tonality and transformation of the very foundations of tonal language, searching for new models in atonalism, polytonalism or other forms of altered tonality", which took place around the turn of the century. Other scholars such as James Hepokoski, J. P. E. Harper-Scott, Daniel Grimley, Annika Forkert, Laurenz Lütteken and Sebastian Wedler have argued for a broader understanding of turn-of-the-century musical modernism, one that is not predominantly defined by the historiographical narrative of the emancipation of dissonance.
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