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2019 | 3 | 3(9) | 43-56

Article title

Postmodern Music and its Future

Authors

Content

Title variants

Languages of publication

EN

Abstracts

EN
The essay presents an attempt at characterizing contemporary music’s culture by identifying a dialectical tension between “modern” and “postmodern” currents in it. After initial considerations on the manifold usages of the term “postmodernism,” five composers’ approaches will be analyzed: John Cage, Philip Glass (and other minimalists), Bernhard Lang, Mauricio Kagel and Johannes Kreidler. However different they may be from one another, all these composers are being interpreted as undermining, in various ways, the practice and theoretical background of modernist avant-garde music.

Year

Volume

3

Issue

Pages

43-56

Physical description

Dates

published
2019-10-31

Contributors

  • Institute of Philosophy, University of Warsaw

References

  • Barthes, Roland. Image, Music, Text. Translated by Stephen Heath. London: Fontana Press, 1977.
  • Craenen, Paul. Composing Under the Skin: The Music-Making Body at the Composer’s Desk. Leuven: Leuven University Press, 2014. https://doi.org/10.2307/j.ctt13x0ms5.
  • Cramer, Alfred W., ed. Musicians and Composers of the 20th Century. Pasadena, CA: Salem Press, 2009.
  • Fokkema, Douwe. Literary History, Modernism, and Postmodernism. Amsterdam and Philadelphia: John Benjamins Publishing Company, 1984.
  • Griffith, Paul. The Substance of Things Heard: Writings About Music. Rochester, NY: University of Rochester Press, 2005.
  • Habermas, Jürgen. “Modernity: An Unfinished Project.” Translated by Nicolas Walker. In Habermas and the Unfinished Project of Modernity: Critical Essays on The Philosophical Discourse of Modernity, edited by Maurizio Passerin d’Entreves and Seyla Benhabib. Cambridge, MA: MIT Press, 1997.
  • Hanslick, Eduard. On the Musically Beautiful. Translated by Geoffrey Payzant. Indianapolis: Hackett Publishing Company, 1986.
  • Jameson, Frederic. The Cultural Turn: Selected Writings on the Postmodern 1983-1998. London and New York: Verso, 1998.
  • Jencks, Charles. “Postmodern and Late Modern: The Essential Definitions.” Chicago Review 35, No. 4 (1988): 31-58. https://doi.org/10.2307/25305377.
  • Kramer, Lawrence. Classical Music and the Postmodern Knowledge. Berkeley, Los Angeles, and London: University of California Press, 1996.
  • Lehmann, Harry. Die digitale Revolution der Musik. Eine Musikphilosophie. Mainz: Schott Music GmbH & Company, 2012.
  • Lipka, Krzysztof. Entropia kultury. Sztuka w ponowoczesnej pułapce. Warszawa: Uniwersytet Muzyczny im. F. Chopina, 2013.
  • Lissa, Zofia. Szkice z estetyki muzycznej. Kraków: Państwowe Wydawnictwo Muzyczne, 1965.
  • Lyotard, Jean-François. The Postmodern Condition: A Report on Knowledge. Translated by Geoff Bennington and Brian Massumi. Minneapolis: University of Minnesota Press, 1984. https://doi.org/10.2307/1772278.
  • Nyman, Michael. Experimental Music: Cage and Beyond. Cambridge: Cambridge University Press, 1999.
  • Putnam, Hilary. Reason, Truth and History. Cambridge: Cambridge University Press, 1981. https://doi.org/10.1017/CBO9780511625398.
  • Rychter, Marcin. “How Music Turned into Philosophy and What Implications Does this Have?” Kronos. Philosophical Journal 2 (2013): 158-166. http://kronos.org.pl/wp-content/uploads/2016/11/Kronos_Philosophical_Journal_vol-II.pdf.
  • Woods, Tim. Beginning Postmodernism. Manchester: Manchester University Press, 1999.

Document Type

Publication order reference

YADDA identifier

bwmeta1.element.desklight-8f551279-ceb3-46e1-9188-d74fa120d319
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