Postmodern music

Postmodern music is music which follows the postmodern ideology. As the name suggests, this movement formed partly in reaction to modern music. Because of this, Postmodern music is mostly defined in opposition to modern music, and a work can either be modern, or postmodern, but not both.

The postmodern musical attitude

Jonathan Kramer posits the idea (following Umberto Eco and Jean-François Lyotard) that postmodernism (including "musical" postmodernism) is less a surface style or historical period (i.e., condition) than an "attitude". Kramer enumerates 16 "characteristics of postmodern music, by which I mean music that is understood in a postmodern manner, or that calls forth postmodern listening strategies, or that provides postmodern listening experiences, or that exhibits postmodern compositional practices." According to Kramer (Kramer 2002, 16–17), postmodern music:

# is not simply a repudiation of modernism or its continuation, but has aspects of both a break and an extension
# is, on some level and in some way, ironic
# does not respect boundaries between sonorities and procedures of the past and of the present
# challenges barriers between 'high' and 'low' styles
# shows disdain for the often unquestioned value of structural unity
# questions the mutual exclusivity of elitist and populist values
# avoids totalizing forms (e.g., does not want entire pieces to be tonal or serial or cast in a prescribed formal mold)
# considers music not as autonomous but as relevant to cultural, social, and political contexts
# includes quotations of or references to music of many traditions and cultures
# considers technology not only as a way to preserve and transmit music but also as deeply implicated in the production and essence of music
# embraces contradictions
# distrusts binary oppositions
# includes fragmentations and discontinuities
# encompasses pluralism and eclecticism
# presents multiple meanings and multiple temporalities
# locates meaning and even structure in listeners, more than in scores, performances, or composers

Timescale

One author has suggested that the transition in music from modern to postmodern occurred in the late 1960s, influenced in part by psychedelic rock and a late Beatles album (Sullivan 1995, 217), while others place the beginnings of musical postmodernism much earlier, around 1930 (Karolyi 1994, 135; Meyer 1994, 331–32).

ee also

*Postmodern classical music
*20th century classical music
*Musical montage
*Plunderphonics
*Sound collage
*Theodor Adorno
*Walter Benjamin

ources

*Albright, Daniel. 2004. "Modernism and Music: An Anthology of Sources". University of Chicago Press. ISBN 0-226-01267-0.
*Danuser, Hermann. 1991. "Postmodernes Musikdenken—Lösung oder Flucht?". In "Neue Musik im politischen Wandel: fünf Kongressbeiträge und drei Seminarberichte", edited by Hermann Danuser, 56–66. Mainz & New York: Schott. ISBN 3795717728
*Heilbroner, Robert L. 1961. "The Future as History". New York: Grove Press.
*Jameson, Fredric. 1991. "Postmodernism, or, The Cultural Logic of Late Capitalism". Durham: Duke University Press. ISBN 0822309297 (cloth); ISBN 0822310902 (pbk)
*Karolyi, Otto. 1994. "Modern British Music: The Second British Musical Renaissance—From Elgar to P. Maxwell Davies". Rutherford, Madison, Teaneck: Farleigh Dickinson University Press; London and Toronto: Associated University Presses. ISBN 0-8386-3532-6
*Kramer, Jonathan. 2002. "The Nature and Origins of Musical Postmodernism." In "Postmodern Music/Postmodern Thought", edited by Judy Lochhead and Joseph Aunder,Fact|date=February 2008 New York: Routledge. ISBN 0-8153-3820-1 Reprinted from "Current Musicology" no. 66 (Spring 1999): 7–20.
*Meyer, Leonard B. 1994. "Music, the Arts, and Ideas: Patterns and Predictions in Twentieth-Century Culture", second edition. Chicago and London: University of Chicago Press. ISBN 0-226-52143-5
*Ortega y Gasset, José. 1932. "The Revolt of the Masses". New York & London: W. W. Norton & Company. ISBN 0-393-31095-7 [http://www.4literature.net/Jose_Ortega_y_Gasset/Revolt_of_the_Masses/ Online edition]
*Sullivan, Henry W. 1995. "The Beatles with Lacan: Rock ‘n’ Roll as Requiem for the Modern Age". Sociocriticism: Literature, Society and History Series 4. New York: Lang. ISBN 0-8204-2183-9.
*Varga, Bálint András, and Rossana Dalmonte. 1985. "Luciano Berio: Two Interviews", translated and edited by David Osmond-Smith. London: Boyars. ISBN 07145282930714528293
*Wellmer, Albrecht. 1991. "The Persistence of Modernity: Essays on Aesthetics, Ethics and Postmodernism", trans. David Midgley. Cambridge [Massachusetts] : MIT Press. ISBN 0262231603