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By Eduardo de la Fuente
In the 1st decade of the twentieth-century, many composers rejected the foundations of tonality and typical beat. This signaled a dramatic problem to the rationalist and linear conceptions of song that had existed within the West because the Renaissance. The ‘break with tonality’, Neo-Classicism, serialism, probability, minimalism and the go back of the ‘sacred’ in song, are explored during this booklet for what they let us know in regards to the of modernity. Modernity is the following handled as a posh social and cultural formation, within which mythology, narrative, and the will for ‘re-enchantment’ haven't thoroughly disappeared. via an research of Schoenberg, Stravinsky, Boulez and Cage, 'the writer indicates that the 20 th century composer usually followed a creative character equivalent to Max Weber’s spiritual forms of the prophet and priest, ascetic and mystic. 20th Century track and the query of Modernity advances a cultural sociology of modernity and indicates that 20th century musical tradition frequently concerned the adoption of ‘apocalyptic’ temporal narratives, a dedication to ‘musical revolution’, a wish to discover the bounds of noise and sound, and, eventually, redemption in the course of the rediscovery of tonality. This publication is key interpreting for these attracted to cultural sociology, sociological idea, tune heritage, and modernity/modernism studies.
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Additional resources for Twentieth Century Music and the Question of Modernity
Example text
Eksteins, 1989: xvi) The impact of the modern urban experience on aesthetic Modernists has also been widely commented upon. ’ As Georg Simmel highlighted in ‘The Metropolis and Mental Life,’ the modern city results in the ‘intensification of emotional life due to the swift and continuous shift of external and internal stimuli’ that results from the metropolitan experience (Simmel, 1971: 325). He suggests that with ‘every crossing of the street, with the tempo of economic, occupational and social life,’ the sensory life of the metropolis provides a ‘deep contrast with the slower, more habitual, more smoothly flowing rhythm of the sensory-mental phase of small town and rural existence’ (Simmel, 1971: 325).
However, the year 1900 also seems to hold a particular mythological significance for Modernist culture. For example, Nicolas Slonimsky’s Music Since 1900 captures the common stylistic musical conception of where the twentieth century starts: The twentieth century marked a revolution in the style and technique of musical composition greater than in any century before. … Until the very end of the nineteenth century, the unbreakable rule of composition was that each separate, individual section, each movement and certainly the complete work itself had to terminate on a perfect triad – a major triad in most cases, a minor triad in certain cases … In classical music, if this term is applied to all music before 1900, the terminal point had to be the tonic of the original key or on the tonic of a relative key.
The crisis of Romanticism, inflating horribly into expressionism, reached a new crisis which led to neo-classicism. In turn there was the violent rejection of neo-classicism by composers of the 1950s avant-garde, followed by a crisis of the avant-garde itself which opened the way for minimalism: Modernism challenged by Post-Modernism. , the ‘end’ of centuries). This seems to be a hallmark of fin-de-siècle epochs, such as that at the end of the nineteenth century, when a feeling of decadence and experimentation existed in equal measure.