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Topic: Postmodern music

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In the News (Mon 17 Jun 19)

  Postmodern music - Wikipedia, the free encyclopedia
For example, one significant role of music in postmodern society is to act as a badge by which people can signify their identity as a member of a particular subculture.
Aleatory music began to blur the boundaries between the composer and the audience, and between the musician and the environment, which was a postmodern trend.
As a musical condition, postmodern music is music situated after the modern age, during the present period, where music has become valued primarily as a commodity and a culture, rather than a form of idealized modernist expression for its own sake.
en.wikipedia.org /wiki/Postmodern_music   (2517 words)

 Postmodernism - Wikipedia, the free encyclopedia
From this perspective, the schools of thought labelled "postmodern" are not as widely at odds with their time period as the polemics and arguments appear to point, for example, to the shift of the basis of scientific knowledge to a provisional consensus of scientists, as posited by Thomas Kuhn.
Postmodernism has manifestations in many modern academic and non-academic disciplines: philosophy, theology, art, architecture, film, television, music, theatre, sociology, fashion, technology, literature, and communications are all heavily influenced by postmodern trends and ideas, and are thoroughly scrutinised from postmodern perspectives.
Postmodern philosophy is a radical criticism of Western philosophy, because it rejects the universalizing tendencies of philosophy.
en.wikipedia.org /wiki/Postmodernism   (6148 words)

 ipedia.com: Postmodern music Article   (Site not responding. Last check: 2007-10-20)
As a musical condition, postmodern music is music as it exists in late capitalism after modernism, as part of the postmodern conditio...
As a musical condition, postmodern music is music as it exists in late capitalism after modernism, as part of the postmodern condition.
As a musical condition, postmodern music is music situated after the modern age, during the present period of late capitalism, where music has become primarily a commodity and a culture, rather than a form of idealized modernist expression.
www.ipedia.com /postmodern_music.html   (499 words)

 [No title]
Zorn's music does something palpable to its listeners, or at least incites them to a form of action, of awakening; it activates the listener in a manner that a great deal of conventional and commercially-produced music, when it casts itself as soother or anaesthetic, does not.
Such music, which Attali approves as the harbinger of a new age of composition and of listener-involvement in autonomous musical production, freed from the aesthetic and social restraints of the recording industry, Zorn calls the "dead, lifeless music" of "boring old farts," of whom, for him, Cage is a leading example (Woodward 35).
Postmodern genre, she asserts, finally attempting to define that which refuses definition, is characterized by its appropriation of other genres, both high and popular, by its longing for a both/and situation rather than one of either/or.
www.infomotions.com /serials/pmc/pmc-v5n2-mcneilly-ugly.txt   (3797 words)

 Postmodern music
As a musical style, postmodern music contain characteristics of postmodern art—that is, art after modernism.
Cage speaks of a fundamental transformation of musical ontology (intentional expression with sounds) into a theoretical discourse on music which is realized in the location and under the circumstances in which the performance of a musical work is expected (the intentional creation of sounds).
The DJ uses records to make a musical collage, just like Quentin Tarantino might make a new movie which is just a lot of scenes copied from old movies or an architect might build a skyscraper shaped like a grandfather clock.
www.jahsonic.com /PostmodernMusic.html   (790 words)

 [No title]
In the postmodern mode, not only are Ulysses and his crew both listening to the siren song, they are singing along with it as in "Sing Along with Mitch" and perhaps marking the beat with their oars--one-two, one-two, one-two-three-four.
But if the increasing secularization of music in the European late Baroque and 18th century led on the one hand to the Jacobin utopianism of the _Ninth Symphony_, it produced on the other something like Kant's aesthetics of the sublime, that is a mysticism of the bourgeois ego.
Modernism in music, say the infinitely compressed fragments of late Webern, is the perception in the midst of the bad trip, of dissonance, of a momentary cohesion and radiance, whose power is all the greater because it shines out of chaos and evil.
www3.iath.virginia.edu /pmc/text-only/issue.990/beverley.990   (4452 words)

 Popular Music and Society: Making sense out of postmodern music?
The postmodern sensibility as expressed in music is reflective of the spirit of the late twentieth century.
The boundaries between popular music (with many of its roots in African and Latin American music) and what is commonly considered "art music" (with many of its roots in European culture) are often intentionally and unintentionally blurred, crossed, or obliterated.
Even though European music has reflected some mixing of cultures for hundreds of years, and some composers in the first half of the twentieth century have made use of genre mixing, there are notable distinctions that set postmodern music apart from music that came before the 1960s.
www.findarticles.com /p/articles/mi_m2822/is_4_24/ai_85883705   (1306 words)

 Postmodernist Music
She describes the postmodernist properties of the music video channel within the parameters of cultural studies and screen theory, even though by definition postmodernist MTV is a constantly changing format that defies generalizations.
So "cool" postmodern music, while not totally escaping the properties of commodity, is not merely filler between commercials, or a commercial in itself.
The distinctions between types of postmodern music may seem contradictory when postmodernism is supposed to be about the erosion of the older distinction between high culture and so-called mass or popular commercial culture.
www.fastnbulbous.com /postmodernist.htm   (7087 words)

 [No title]   (Site not responding. Last check: 2007-10-20)
I. Fear of Music: Postmodernism and Music Television [1] The first time I heard the terms "postmodernism" and "the postmodern" was at the "Marxism and Interpretation of Culture Conference" at the University of Illinois during the torpid summer of 1983.
Indeed, the argument that music video as cultural form and MTV as televisual apparatus were quintessential exemplars of postmodern culture has become the dominant interpretation of music television within cultural studies.
In the cynical postmodern sensibility of MTV (and, for Grossberg, popular culture as a whole), there is no pretension to making a difference in the structure or fabric of everyday life beyond the differences of image and appearance.
www.infomotions.com /serials/pmc/pmc-v4n1-herman-fear.txt   (3172 words)

 The Vermont Connection : University of Vermont
Postmodern theory is a broad and complex topic which cannot be covered in its entirety by the scope of this paper, nor does this paper attempt to explain all the intricacies of North Indian classical music.
As such, the music the artist performs today will be different than the music that he or she performs tomorrow because of the experiences that transpire between the two days.
Music is formed and shaped through the various interactions between the realities of the performers in the community.
www.uvm.edu /~vtconn?Page=v21/lal.html   (2871 words)

 pbe faq
In contrast, postmodern music is often consonant, derivative, and ironic.
Moreover, in postmodern music there is no fundamental barrier between "high-brow" and "low-brow".
In addition, some postmodern classical composers, such as Philip Glass, produced music in collaboration with "popular" musicians, and have produced numerous popular film scores.
www.paulbaileyensemble.org /faq.htm   (510 words)

Hall's account of the liminality of postmodern Yuppie existence is perceptive and engaging, as is his assessment of New Age music as a mouthpiece of that liminality.
If New Age music is the music of the Yuppies, country music is, at least traditionally, the music of the "Rednecks." The liminality experienced by rednecks results from the marginality of the redneck community.
As country music becomes the music of the upwardly mobile, it ceases to be the voice of the liminally stuck.
pcasacas.org /SPC/spcissues/20.1/fillingim.htm   (2810 words)

Postmodernism is a term I myself helped to promote back in the 70s to describe the new sorts of innovation fiction that began appearing back in the 60s.
Thus, postmodernism uses the related strategies of collage, intertextuality, reflexivity, and pastiche to present their elements—the characters and events in literature and film, the themes, leitmotifs, melodies and riffs in music, the visual materials in painting and sculpture, together with the "self" responsible for the creation of these elements—as heterogeneous collections of cultural accumulations.
Though I will be focusing on music, I will also be suggesting that in our current age of electronic reproduction and replication, postmodern artists in general are responding to the idea that the unique status of not only art but also of human beings themselves is being challenged and redefined by these same technological transformations.
www.spinelessbooks.com /whitenoise   (5522 words)

 Kramer: Classical Music and Postmodern Knowledge
Music has figured familiarly in modern Western culture as the vehicle for everything that cannot be represented or denoted.
By one reckoning, music serves this function in Apollonian terms, reviving ancient figures of cosmic harmony in the modern form of aesthetic order--the tangible embodiment of rationality, unity, universality, and truth.
The Dionysian complement of this process, in which the withdrawal appears as a rupture and music taps emotions and desires at depths beyond the reach of any order, is equally pervasive as a cultural trope.
www.duke.edu /~aparks/Kramer1.html   (753 words)

 Postmodern Music at BAM: Appealing, Monotonous, and Unpredictable - Tom Pniewski
The great musical centerpiece of the 1987 Next Wave Festival was John Adams' highly acclaimed opera Nixon in China, directed by wunderkind Peter Sellars.
He began his musical odyssey after receiving a degree in philosophy at Cornell; study at New York's Juilliard School was followed by a move west, work with Darius Milhaud and Luciano Berio, and a lot of electric tinkering in the 1960s.
Because of minute differences in their mechanics, the two machines varied slightly in their playback speeds; the music was occasionally synchronized, but more often the two tracks were slightly out of alignment with each other.
www.worldandi.com /specialreport/1988/february/Sa13932.htm   (276 words)

 Popular: Music products at MSN Shopping
More into one of the 20th century's defining images has been repeatedly chronicled but rarely analyzed; a critical appreciation of their music and career, and the issues and debates they provoked, is long overdue.
Enhanced with maps, color photographs of musicians and dance parties, musical transcriptions, interviews with musicians, and a glossary of Yoruba terms, "Juju is an invaluable contribution to scholarship and a boon to fans who want to discover the roots of this vibrant music.
The music examples are primarily from commercial recordings from the 1930s to the 1980s.
shopping.msn.com /results/shp?bCatId=2774   (1693 words)

 New consonant music - Contemporary composers and performers
The audience didn't follow and contemporary music concerts became ghettos for a nomenklatura of composers and intellectual afficionados.
Music is a language, and any langage grows with evolution while it is killed with revolution.
The term 'consonant' is relative to the music itselve, not to its atomic elements.
www.avk.org /ncm   (501 words)

 Classical Music and Postmodern Knowledge
A leading cultural theorist and musicologist opens up new possibilities for understanding mainstream Western art music--the "classical" music composed between the eighteenth and early twentieth centuries that is, for many, losing both its prestige and its appeal.
Kramer draws out the musical implications of contemporary efforts to understand reason, language, and subjectivity in relation to concrete human activities rather than to universal principles.
Extending the rethinking of musical expression begun in his earlier Music as Cultural Practice, he regards music not only as an object that invites aesthetic reception but also as an activity that vitally shapes the personal, social, and cultural identities of its listeners.
www.ucpress.edu /books/pages/6494.html   (461 words)

 Postmodern architecture and postmodern music: Magle International Music Forums
Eastern music is often of a ritual nature and for the gods.
African music is often a ritual for the gods and there's no thought of making a pretty sound for people to listen to.
Eastern sacred music is often based on perfect cycles which repeat indefinitely though usually additive (5+3) and not usually divided in half as in (4+4).
www.magle.dk /ubbthreads/showflat.php?Number=7246   (447 words)

 listen.: 09.2004
A survey of twentieth-century music inevitably must deal with these questions, particularly when the music of the final third-or-so of that century is discussed.
I caution the reader, therefore, against using these traits as a checklist to help identify a given composition as postmodern or not: postmodern music is not a neat category with rigid boundaries.
My response to this situation is to try to open up the intellectual space through the music I know the best and love the most--the concert music of the 20th century.
listen101.blogspot.com /2004_09_01_listen101_archive.html   (832 words)

 syll   (Site not responding. Last check: 2007-10-20)
of postmodern thought broadly conceived to include poststructuralist philosophy, philosophies of embodiment, postmodern theory, feminist theory, and historical epistemology.
Selected readings in postmodern thought provide a basis for critique of contemporary approaches to music theory and analysis in such areas as: linear analysis (tonal and post-tonal), set theory, timbral analysis, and others as appropriate to the interests of seminar participants.
Critique of these contemporary approaches will consider such topics as: what constitutes the musical object, how it is conceived, what kinds of evidence figure in the theoretical and analytical project, how is the musical object represented.
www.sinc.sunysb.edu /Class/mus557/syll.htm   (1520 words)

 Music and Postmodern Worship   (Site not responding. Last check: 2007-10-20)
But it take more than just "a good heart." If the music stinks and the preacher stumbles over every other word, the worshipers are distracted from God and stumble over their leaders instead of bump into the presence of their God.
There is something real and gritty about the music postmodern worship leaders select for their worship services.
Whether it is Gregorian chanting, the prayers of the early church fathers set to music, ancient hymns or 21st Century music, leaders are selecting the music that has theological rigor and has the artistic integrity to help usher the worshipers into the presence of God.
www.freshministry.org /postmodern/music.html   (760 words)

 PostModern Music   (Site not responding. Last check: 2007-10-20)
PostModern Music provides booking, scheduling, marketing, and local and national promotion for live music venues of all sizes and genres.
With one of largest and most diverse artist rosters of any national booking agency, PostModern provides only the highest quality live music for its venues.
In short, we provide the best music, the most extensive marketing, and the most support of any booking agency in the current market.
www.postmodernmusic.net   (118 words)

 Cold Music: A Post/MOD(ern) Discussion   (Site not responding. Last check: 2007-10-20)
It's the speed of light itself which limits the reading of information, and the important thing in electronic information is no longer the storage but the display.
The musical frontier moves quickly along, from the days of notes past (LP's and 78's) toward the nights of cold music (CD's and DAT).
As tempted as we are to include names, references, and positions, we, instead, hope you will enter the discussion both here and elsewhere in order to find your own insights into both music and postmodern theory (as we do the same) along the (theoretical) line(s) of Baudrillard, Benjamin, Kroker, Virillio, and Others.
www.uta.edu /english/dab/music/pomo.html   (272 words)

 Amazon.com -zShops: Postmodern Shamanic Music : RAINBOW!   (Site not responding. Last check: 2007-10-20)
This is music that won't fit into any predetermined genre...
Dru has over 30 years experience in both the world of music and the shadow worlds of the shamen.
It is through his gracious help and work that we are able to offer this very special CD to you.
s1.amazon.com /exec/varzea/ts/exchange-glance/Y02Y3671597Y4274182   (314 words)

 The Stranger | Seattle | Music | Feature | Postmodern Messiah   (Site not responding. Last check: 2007-10-20)
I'm thinking to shock the local hipsters into submission with my eclectic (not to say outdated) musical taste.
Moby is coming to town, and we can barely breathe for the claustrophobic weight of our friends' expectations.
Cynically, we inquire whether Moby is still trying to fuse heavyweight grunge guitars with sliding techno--or perhaps he's stepped into a parallel world where swing music still holds sway.
www.thestranger.com /seattle/Content?oid=4904   (740 words)

 The Stranger | Seattle | Music | Feature | Postmodern Air Supply
Wheat Reveal Which Members of Mötley Crüe They'd Want to Be it could be argued that there are two types of men -- good boys and bad boys.
There are a lot of interesting things you can do with soft rock, like Alan Parsons and ELO, the Moody Blues....
I pity the fool who doesn't water his lawn with Mr T's head.
www.thestranger.com /seattle/Content?oid=2360   (672 words)

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