Hostname: page-component-77c89778f8-swr86 Total loading time: 0 Render date: 2024-07-19T22:35:26.273Z Has data issue: false hasContentIssue false

WHERE ARE WE NOW?

Published online by Cambridge University Press:  19 June 2018

Abstract

This article offers generalised reflections on current aesthetic interests and values within the field of new music. Critical composition and postmodernism are considered for the relevance these historic positions might hold today. Then two important trends of the past decade are presented: first, music that draws attention toward the sounding shape and act of listening, reflecting the recent surge of interest in materialism across academic and artistic disciplines; and second, pieces that include aspects such as physical action, lighting and theatrical approaches to expand the possibilities of concert hall work beyond the purely sonic.

Type
RESEARCH ARTICLES
Copyright
Copyright © Cambridge University Press 2018 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

1 Adorno, T.W., ‘The Aging of the New Music’, Télos, no.77 (1988), pp. 95116Google Scholar, originally published in 1955.

2 Kramer, Jonathan D., Postmodern Music, Postmodern Listening (London: Bloomsbury, 2016), p. 5Google Scholar.

3 Kramer, Postmodern Music, p. 7.

4 Kramer, Postmodern Music, p. 7.

5 Fraser, Andrea, ‘It's Art When I Say It's Art, Or … ’, Museum Highlights: The Writings of Andrea Fraser (Cambridge, MA: MIT Press, 2005, originally published 1995), p. 38.

6 Cox, Christopher, ‘Beyond Representation and Signification: Toward and Sonic Materialism’, Journal of Visual Culture, 10, no. 2 (2011), p. 2Google Scholar.

7 Kim-Cohen, Seth, In the Blink of an Ear: Toward a Non-Cochlear Sonic Art (London: Bloomsbury, 2009), p. 107Google Scholar.

8 Danto, Arthur C., The Transfiguration of the Commonplace (Cambridge MA: Harvard University Press, 1981)Google Scholar.

9 Seth Kim-Cohen, In the Blink of an Ear, p. 107.

10 Jennifer Walshe, ‘The New Discipline’, Borealis, www.borealisfestival.no/2016/the-new-discipline-4/ (accessed 13 February 2018).

11 Walshe, ‘The New Discipline’.

12 Groth, Sanne Krogh, ‘Composers on Stage: Ambiguous Authorship in Contemporary Music Performance’, Contemporary Music Review, 35, no. 6 (2016), pp. 686705Google Scholar.

13 Groth, ‘Composers on Stage’, p.690.