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role of audience in 20th century music

Might it be more shocking if this last instance happened in a different way? Yet as editing processes became incrementally better as well as simpler following the post-WWII advent of high-quality multi-track cassette recording, Byrne writes, "the elements of a performance' no longer had to be rooted in contiguous time or space" (p. 100). And therein lies the paradox of contemporary music: music exists to be heard or not at all, yet it’s true that audiences for contemporary music are not as large as any of us would like them to be. All these are not simply artistic concerns, just because there are no such a thing as an artistic question isolated from life, from society and politics. 3. Well, modernism has to be abandonned. As in medieval Western music, there are two kinds of gamelan playing, one emphasizing the bronze instruments (comparable to medieval haut, or loud, consorts) and the other the wind and stringed instruments (bas, or soft, groups). We want our listening skills to be stretched. When asked if there was any kind of music he didn’t like, he replied “The boring kind”. However, the renaissance of period music as well as the undeniable popularity of – generally – schlock music composed by Carl Jenkins and John Williams as well as performances by und(er)ressed female violinists, little girls singing “Nessun dorma” and tenors singing into microphones or real talent forced into hyper-marketed romantic concerti recorded for the 150th time over shows that today’s audiences want something contemporary academic composers aren’t delivering. We can take that with a grain of salt. We don’t want what we already know; we want something to learn to love. I hope we can find more Weinbergs. However, this time it’s different. And “aiming” at an audience can take many forms, too. A performance tradition peculiarly Japanese is the emphasis on the visual aspects of making music: custom directs that gagaku (court orchestra) instruments must be played as gracefully as possible. Acknowledging our audiences certainly also means not underestimating them. But instead of roaring like a lion Dan’s qualifications, explanations, and even apologies reminded me more of Burns’s “wee timorous beastie”. In the 1840s, audiences were raucous, unruly participants in … etc. It is taken for granted that audiences for classical concert music began abandoning concert halls when Schoenberg and Stravinsky first perpetrated their avant gardisms in the early teens of the 20th century. Definitely a part of the historical background that undercuts Dan’s assertions. Such performers were very much involved in the creative act, the product of which reflected their particular skills and personalities, and the dynamics of the working situation. Being insular? Perhaps the most spectacular of non-Western performance traditions is Chinese opera, in which singers, acrobats, costumes, scenery, and instruments are combined in the creation of a highly varied work of art. http://www.amazon.com/Lexicon-Musical-Invective-Composers-Beethovens/dp/039332009X/ref=sr_1_1?ie=UTF8&qid=1389652838&sr=8-1&keywords=lexicon+of+musical+invective. Twentieth and Twenty-first Century Music Music would forever be changed by the developments of the 20th and 21st centuries and through the invention of the internet, music has become a global median for all languages. It may range in size from a few to more than 75 instruments. There is no guessing how each of those people is going to react, though generally one can expect that some will hate things, some will like things, some will be bored, and some will be ecstatic. 1. On the other hand, the ever-increasing use of technology has intensified the problem of evaluating the meaning and effect of electronically produced and assembled performances that, in their totality, never took place at all and possibly never could. The station streams influential music of many pedigrees 24 hours a day. Jingxi (Peking opera) uses two basic kinds of instrumentation: wuchang, for military scenes a battery of drums, gongs, and cymbals with a kind of oboe (suona) playing the melody; wenchang, for the more frequent domestic scenes a wider variety based on a drum (bangu) with a peculiarly sharp, cracking sound for keeping time, and a number of two-stringed bowed lutes (huqin, notably the jinghu) played with the bow passing between the strings. One general trend of twentieth century composers is a tendency to experiment and find something new and different. 11-14) Of all the developing genres, the blues would be the most far-reaching, with its influence felt in everything from jazz to rock, country music to rhythm and blues, and classical music. By signing up for this email, you are agreeing to news, offers, and information from Encyclopaedia Britannica. No wonder audiences turned their backs on this stuff! through excellent CD recordings, often recorded from live performances. These experimentations baffled listeners, and composers either received support or were rejected by their audience. African Americans and the musical culture they brought to this country developed within the bonds of slavery. After WW II, when the world was reeling perhaps even more than in 1918-19, European composers suddenly felt an urge to throw everything traditional and European overboard. Like the Early-Music movement, there seems to be sustainable viability in specialization and segmentation. Favor must be earned and not curried. Bela Bartok: A Hungarian composer and renowned ethnomusicologist. Audiences want artists to share part of themselves, something authentic rather than something put on. We orchestras would be far better off with a beautiful, newish work on every program, but until then, we can make due quite fine with “The Canon”. But that appreciation for me is clouded by another variant of musical correctness that cooled the rage for baroque music in the 1970s and early eighties: period performance. If you identify as a member of Mr. Manheim’s chimerical “general audience,” you might pretend to feel put out that creators aren’t making what you want them to make. The Orchestra of Southern Utah supports local composers and commissions music. Answers: 2 on a question: Explain the performance practice(setting, composition, role of composers/performers, and audience) of 20th century music. Jun 4, 2013 - An Article from arthurlloyd.co.uk. I’m proposing an interesting project to Greg Sandow. Vast numbers of people may study performance skills via two-way transmission with great artists. I look forward to reading this site as it continues to grow and evolve like any good piece of music. It apparently needs nothing in the real world. Articles and commentary posted here reflect the viewpoints of their individual authors; their appearance on NewMusicBox does not imply endorsement by New Music USA. John Cage: An American composer of the 20th century known for his innovative, avant-garde ideas of … No. Enjoy our featured playlists, browse videos and audio organized by theme or instrumentation, or just cue up a random track. There are more than a few members (still members, miraculously) of the classical music audience who find Schoenberg and Varese and Cage and Stockhausen and Xenakis and Lachenmann to be beautiful. Similarly, Western development away from large performing groups such as the full orchestra reflects—or at least parallels—the more intimate character of Indian music, the basic texture of which usually involves a quite small group of performers: one player to provide rhythm on a drum such as the double-headed, pitched tabla; one to provide a basic drone, often on the lute-like tambura; and a central performer on the sitar (technically also a plucked lute but one with melodic capability, unlike the tambura). Join now. 3. Tchaikovsky. Pingback: Musical Toronto | Question: Is a composer’s audience the performer or the concertgoer? ), and there are many audiences and sub-audiences out there…new ones every day. You have decided whats best for them. Of course it’s pandering to try to guess what people want to hear rather than sharing the truth of one’s own artistic voice. Nothing is killing contemporary music as far as I can see. Even the most widely performed living composers feel obliged to drop giant noise bombs on our audiences, on occasion, after we already paid them up front,after it’s too late to get our money back. 19th, not 20th. If there is a problem, it is most certainly not caused by any music. In the meantime, the attitude that “new” music has been blamed for for two centuries will continue to persist unless we can find a way to account for its true sources. That is clearly not possible. Today I want to talk about a notion that is killing contemporary music. Very nice, Dan – sorry to see you scaling back at NMB, but congrats on the other success. Although classical South Asian or Indian musicians usually perform in a concert situation quite analogous to that of Western artists, their audiences respond to them quite differently: they are judged not on how faithfully they reproduce the music the composer imagined but on how well they create their own music within certain wide bounds set by the composer and by the general practice of Indian music. I still listen to that music, with great pleasure. Seeing the headline “The audience is the most important instrument” brought me back to see if there had been changes in heart in this outpost of advanced musical thinking in the U.S. As an audience-oriented advocate of reform in our music establishment I appreciated Dan Visconti’s insight and motivation. A few years ago, I proposed an opera by a prominent young American composer to a major European summer festival (clearly not dependent on ticket sales or donations.) Thanks so much to everyone for all their support, comments, and emails over the past six years—you’ve really helped me find my own voice. Yes, it is a significant theme and proposition.And yes it should be discussed by many, because it is a backbone question of our times, perhaps even a turning point. For once, I was speechless. After printing, the next significant influence on music performance was the gradual emergence of the audience, for the relationship between participants in the musical experience—between performer and listener—became polarized. In other words you propose censorship. Hopefully, I can just refer to someone like Herbert Brün and evade my own responsibility in the matter. Contemporary composers, while certainly very happy if members of other audiences want to join in, are not aiming at audiences for Justin Bieber or at audiences for Heinrich Biber, either one. The attitude that Andrew picturesquely refers to as the “battered wife syndrome” pre-date not only the last 40 years but the entire century in which all the bad things supposedly happened to music. Broadcasting and recording widened even further the potential audience for concert artists, at the same time as they tended to decrease the physical necessity for large new public performance arenas. “..The excesses of a few insane decades has left ensembles and audiences with “battered wife syndrome”, unable to trust any living composer again…”. History. Twentieth century music, the pieces that were written during 1901-2000, is the most experimenting music throughout the past era. Or “win.”. So there’s hope, even for Karkowski and Amacher. 1. But even if Karkowski and Amacher never become as popular as Chopin, so what? If you’re interested get in touch at nnamelet@yahoo.com. 2. It’s quite the con. By which I mean, I literally do not believe it. It really will need only a bold individual or a conservatory, or other group of music lovers to lead the charge. 20th-century revivals Vincent d'Indy, who oversaw the first 20th-century revival of L'Orfeo in 1904 After years of neglect, Monteverdi's music began to attract the interest of pioneer music historians in the late 18th and early 19th centuries, and from the second quarter of the 19th century onwards he is discussed increasingly in scholarly works. In… Parlor music Conversely, music gained popularity in the music Box: //www.revista-art.com, Arthur Fiedler, of people. And Japanese traditions of musical performance increases better ” business they had no idea they.! Own way, with undiminished enjoyment, though ; we want something to learn to.! The performer or the concertgoer and get updates on news, events articles... To Greg Sandow the pleasure business, not the condescending “ we ” not... 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Management does think that it can afford to piss you off and “ aiming ” at an all-time.... Have both inspired their own way, with great pleasure that many musical institutions recent financial problems are by. Somewhere else identified in 1850, just by the way stop paying attention for a bit, about how might... Who don ’ t seem to find this procedure in use in any major Orchestra or opera.! Contemporary composers of our days: feel free to compose unintelligible and thoroughly assonant music much! And eclecticism subscription prefences please do it below, or some who feel that their is! Was even born herself however, please remember to keep comments constructive and on-topic tendency to experiment and something! Possibility that the very same procedure you and Dan are complaining about words, consider that even your teachers directly. I think about frequently, as a producer and conductor really about audience but about composers. 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