Derek B Scott creation of vicious circles are all symptoms of the language disorders of postmodernist fiction. Whether or not these tropes are adequate to describe the unruliness of the postpomo writers, too, is open to debate. SCOTT Postmodernism began to have an impact upon music and musicology in the s when it became evident that a paradigmatic shift in thought was needed in order to find answers to the theoretical impasse that had been reached in several areas.
Robert Schumann German composer and critic. Schumann composed some of the most original masterpieces of Romantic music.
His songs and piano miniatures inhabit an undisputed place in the pantheon of Western music. Schumann grew up surrounded by books: After receiving an excellent secondary school education, which enabled him to read the Greek and Latin classics in the original, Schumann went to Leipzig in to study law.
Uninterested in the law, Schumann immersed himself in literature, keeping abreast of all the momentous literary developments in Germany and writing many fragments, poems, and prose pieces which he hoped eventually to develop into great literary works.
These hopes were dashed, probably inwhen Schumann suffered a mysterious hand injury about which scholars have offered several theories.
In the meantime, Schumann had made his debut as a music critic. For ten years, Schumann used his journal to champion talented composers, single-handedly establishing what posterity would accept as the canon of Romantic music.
One of these disappointments was the failure of his only opera, Genoveva InSchumann accepted a teaching post at the newly-founded Leipzig Conservatory, but performed his duties without much enthusiasm. The following year, Schumann resigned from the position and moved his family to Dresden.
After he left Leipzig, Schumann started experiencing serious professional difficulties. His state of mind steadily deteriorating, Schumann threw himself into the freezing waters of the Rhine in February After his rescue, he voluntarily entered the asylum at Endenich, near Bonn, where he died in These reviews exemplify a new style of criticism, inspired by E.
A Hoffmann but brought to perfection by Schumann. As a critic, Schumann ignored established rules and relied on his intuition.
As music historians have pointed out, Schumann worked hard to forge an objective, analytical approach to music despite the immense success of his subjective style. However, as Carl Dahlhaus observed, Schumann formulated his entire approach to music including a revolutionary philosophy of music during his early years as a critic.
In linking Bach and Beethoven, Dahlhaus noted that Schumann departed from conventional thinking, which, following stylistic considerations, associated Bach with Handel, and Beethoven with Mozart.
Hoffmann, Schumann was perceived as a writer driven by his subjective views. Indeed, not only did Schumann reach his goal of critical objectivity, but he also became a relevant voice in German intellectual life.The Aesthetics of Popular Music Popular music is widely assumed to be different in kind from the serious music or art music that, until very recently, monopolized attention in philosophical discussions of music.
Within the fine arts, literature, architecture, and music, artistic revolutions occurred at an unprecedented rate and, within the rubric of modernism, deliberately broke with the .
13 POSTMODERNISM AND MUSIC D EREK B.
SCOTT Postmodernism began to have an impact upon music and musicology in the s when it became evident that a paradigmatic shift in thought was needed in order to find answers to the theoretical impasse that had been reached in several areas.
A new artistic aesthetic, Romanticism, replaced the ideals of order, symmetry, and form espoused by the classicists of the late eighteenth century.
Romantics valued the natural world, idealized the life of the common man, rebelled against social conventions, and stressed the importance of the emotional in art. The defining feature of modern music (and modern art generally) is the breaking-down of all traditional aesthetic conventions, thereby unleashing complete freedom in all aesthetic dimensions, including melody, rhythm, and chord progression.
In music, modernism is a philosophical and 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 harmonic.