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Journal articles on the topic 'Avant-garde in music'
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1
Ricardo, Mandolini. "Adorno and Avant-Garde Music." International Journal of Multidisciplinary Research and Analysis 04, no. 03 (2021): 282–97. https://doi.org/10.47191/ijmra/v4-i3-10.
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My article explores some aspects of Theodor W. Adorno's work in relation to contemporary music in general and electroacoustic music in particular. Let us recall that Adorno never seriously considered the latter, which he regarded more as a technological bricolage than as a legitimate source for the production of works. One of the purposes of this paper is to demonstrate that under the definition of musique informelle, Adorno opens wide the door to all musics, even those that do not depend directly on musical writing.
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GRAHAM, STEPHEN. "From Microphone to the Wire: Cultural change in 1970s and 1980s music writing." Twentieth-Century Music 16, no. 3 (2019): 531–55. http://dx.doi.org/10.1017/s1478572218000336.
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AbstractIn this article I examine localized cultural change that nevertheless serves as an applied instance of broader change. Focusing mostly on British, white male musicians and music writers active in the improvised and experimental music scenes of the UK (and, to a lesser extent, United States and Europe) across the 1970s and early 1980s, I identify clear shifts in taste, attitude, and practice. These shifts arc across what Ben Piekut calls the ‘mixed avant-garde’ of the 1960s to what I describe as the ‘unpop avant-garde’ of the late 1970s and 1980s, in which influences from popular and non-Western music play more significant roles than before and liminal, quasi-popular practices such as noise are in the emergence. I trace the appearance of the unpop avant-garde through independent music publications from the period, most prominently Microphone, Musics, Collusion, Impetus, and Re/Search, using these published scene discourses as barometers of the musical atmosphere of the time.
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Calico. "Music in Avant-Garde Periodicals." Journal of Modern Periodical Studies 8, no. 2 (2018): 157. http://dx.doi.org/10.5325/jmodeperistud.8.2.0157.
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Redhead, Lauren. "THE AVANT GARDE AS EXFORM." Tempo 72, no. 286 (2018): 7–16. http://dx.doi.org/10.1017/s0040298218000311.
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AbstractPeter Bürger's critique of the historical avant garde (in Theory of the Avant Garde) accounts for its ineffectual nature as a political movement because of its relationship with institutions. He argues for hermeneutics to be employed as a critique of ideology, and as a facet of the understanding of the ‘historicity of aesthetic categories’. The influence of institutions on music since 1968 has served as a central part of its critique: the work concept itself seems to enshrine political ineffectiveness and the bourgeois nature of art practice that ought to be critiqued by an avant garde. In contrast, Nicolas Bourriaud's concept of the ‘exform’ re-conceives the avant garde as outside of institutions and an idea of ‘progress’ that is aligned with a dominant capitalist ideology. He frames the task of the avant-garde artist as giving energy to ‘waste’, outside of political and ideological institutions. This type of avant-garde practice functions to ‘bring precarity to mind: to keep the notion alive that intervention in the world is possible’. This article explores the exform with respect to the work of the British composer Chris Newman and the Swiss composer Annette Schmucki, and considers how Bourriaud's approach to re-thinking the avant garde might apply specifically to contemporary and experimental music in the present.
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Medić, Ivana. "The Impossible Avant-garde of Vladan Radovanović." Musicological Annual 55, no. 1 (2019): 157–76. http://dx.doi.org/10.4312/mz.55.1.157-176.
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The term nesuđena avangarda (“undestined avant-garde”) was coined by Milorad Belančić to describe Vladan Radovanović’s unique artistic destiny. Although Radovanović was the only truly avant-garde Serbian composer in the post-World War II Yugoslavia, his output was overlooked and sidelined. In this article I discuss the circumstances that rendered Radovanović’s avant-garde unrecognised, irrelevant and invisible for many decades.
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Atton, Chris. "Listening to ‘difficult albums’: specialist music fans and the popular avant-garde." Popular Music 31, no. 3 (2012): 347–61. http://dx.doi.org/10.1017/s0261143012000281.
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AbstractDifficulty is most often associated, not with popular music, but with the avant-garde. How do popular music listeners listen to albums that present compositional, performance or conceptual elements from the avant-garde? This paper explores where difficulty lies for listeners when they listen to, situate and evaluate albums that sit on the intersection between the popular and the avant-garde. The paper focuses on the online collaborative discourse of readers of a British music magazine (The Word), to explore how, while ‘difficult albums’ might be considered sui generis and dislocated from the norms of popular music, the aesthetic discourse of The Word's readers shows that to engage with difficult albums is to explore how they are able to be connected with a range of musical histories and practices, as well as to multiple personal experiences of popular music.
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Lipták, Michal. "Body, Music and Electronics: Pierre Schaeffer and the Phenomenology of Music." Studia Universitatis Babeș-Bolyai Philosophia 67, no. 1 (2022): 45–74. http://dx.doi.org/10.24193/subbphil.2022.1.03.
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"The article presents a phenomenological investigation of body and music, with particular emphasis on electronic music. The investigation builds on theoretical framework developed in phenomenological investigations in art by Edmund Husserl, Mikel Dufrenne and Roman Ingarden. It is guided beyond these analyses by investigations of particular musical examples in avant-garde acoustic and electronic music. In the former case it tackles music from which body is being consciously erased. In the latter case, the erasure occurs instantly. This negative approach elucidates the function of body in music. In case of electronic music, the article focuses on writings and music of pioneer of musique concrète, Pierre Schaeffer. Central argument is that electronic music always has been and still is defined by absence of body, here phenomenologically considered as Leib. As a consequence of the phenomenological elucidation, it is ultimately shown that erasure of body has been one of the avant-garde music’s crucial techniques, and that this avant-garde residue remains in electronic music as such, both experimental and mainstream. Keywords: Schaeffer, Husserl, phenomenology, music, body, aesthetics "
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Pereverzeva, M. V. "The Works of Contemporary Composers in the Teaching Repertoire of the Music Institutions: Mastering Problem." Contemporary problems of social work 6, no. 4 (2020): 29–35. http://dx.doi.org/10.17922/2412-5466-2020-6-4-29-35.
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the article’s subject is avant-garde music of the 20th century and problem of its mastering in educational process in music institutions. The purpose of the work is providing the methodological recommendations for the mastering of avant-garde music in the training of music educators. The results of the work are follow: there have been detailed examination of the basic concepts and artistic and aesthetic principles, as well as the expressive means of this music, the problems of perception of modern compositions and its presentation in the educational process of institutions, the analysis and performance of avant-garde music, the theory of modern composition, the evolution of the piano performing style. Novelty of this article consists of scientific and practical results of music teachers’ work achieved by researchers, develops advanced ideas of domestic and foreign authors, but first of all it is designed to solve the main dilemma of art and education: the stylistic restriction of music, mastered by future music educators; the availability of highly artistic musical works that require conventional performing skills, and their absence in the teaching and concert repertoire of musicians; insufficient use of educational potential of avant-garde music in the training of music educators. Conclusions: piano music of American minimalist composers provides a comprehensive education of future music educators in the field of history and theory of music, the evolution of the musical language and performing style, students’ mastering of special competencies, thereby contributing to the formation of students’ universal professional performing skills and abilities.
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MĂNĂILESCU, Sorana. "Versions of Post Avant-Garde Music." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 13(62), no. 1 (2020): 117–26. http://dx.doi.org/10.31926/but.pa.2020.13.62.1.13.
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The present paper is written in response to Christopher Norris’s allegation in a famous essay, ""Post-modernism - a guide for the perplexed,"" (Norris 2000) that, unlike literary postmodernism, characterized by an appeal to intelligence and intellectual effort from the reading public, musical postmodernism is impoverished in point of language and idea. This communication attempts to shed light on the complexity of musical compositions in the generic sphere of electroacoustic, timbral or computer-generated music, whose creators are at the same time theorists of their own language which requires a key to interpretation. Far from being minimalist, this post-avant-garde music has an interest in the history of musical styles, as titles such as the New Romanticism, New Interiority or New Expressionism also indicate the intention of crossing the borders of postmodernism. To what? This paper is an attempt to identify new directions by several prominent representatives."
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Ferguson, John R., and Andrew R. Brown. "Fostering a Post-Digital Avant-Garde: Research-led teaching of music technology." Organised Sound 21, no. 2 (2016): 127–37. http://dx.doi.org/10.1017/s1355771816000054.
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In this article we discuss how contemporary computational and electronic music-making practices might be characterised as a post-digital avant-garde. We also discuss how practitioners within the higher education sector can play a role in leading the development of these practices through their research and teaching. A brief overview of twentieth-century avant-garde practices is provided to set the scene before a case for defining a post-digital avant-garde is made. By way of illustration, the authors describe their own post-digital creative practices and then discuss how these integrate into their academic duties. We reflect on themes that run through avant-garde practices and continue into the post-digital. Finally, we describe how these themes inform an undergraduate music technology programme such that it might be shaped to reflect these developments and prepare students for a post-digital future.
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Vasic, Aleksandar. "Serbian Literary Magazine and avant-garde music." Muzikologija, no. 5 (2005): 289–306. http://dx.doi.org/10.2298/muz0505289v.
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One of the most excellent periodicals in the history of Serbian literature Serbian Literary Magazine (1901-1914, 1920-1941), also played an exceptionally important part in the history of Serbian music criticism and essay literature. During the period of 35 years, SLM had released nearly 800 articles about music. Majority of that number belongs to the music criticism, but there are also studies and essays about music ethno musicological treatises, polemics, obituary notices, as well as many ample and diverse notes. SLM was published during the time when Serbian society, culture and art were influenced by strong challenges of Europeanization and modernization. Therefore, one of the most complicated questions that music writers of this magazine were confronted with was the question of avant-garde music evaluation. Relation of critics and essay writers to the avant-garde was ambiguous. On one side, SLM's authors accepted modern art in principle, but, on the other side, they questioned that acceptance when facing even a bit radical music composition. This ambivalence as a whole marked the work of Dr Miloje Milojevic, the leading music writer of SLM. It is not the same with other critics and essayists Kosta Manojlovic was more tolerant, and Dragutin Colic and Stanislav Vinaver were true protectors of the most avant-garde aspirations in music. First of all SLM was a literary magazine. In the light of that fact it has to be pointed out that very early, way back in 1912, critics wrote about Arnold Schoenberg, and that until the end of existence of this magazine the readers were regularly informed about all important avant-garde styles and composers of European, Serbian and Yugoslav music. The fact that Schoenberg Stravinsky, Honegger or Josip Slavenski mostly were not accepted by critics and essayists, expresses the basic aesthetic position of this magazine. Namely, SLM remained loyal to the moderate wing of modern music, music that had not rejected the tonal principle and inheritance of traditional styles (Baroque, Classicism, Romanticism). Its ideal was the modern national style style that would present the synthesis of relatively modern artistic and technical means and national folklore.
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Kan, Alexander. "Leningrad Contemporary Music Club: An Early Bird of Soviet Musical Underground." Arts 14, no. 1 (2025): 13. https://doi.org/10.3390/arts14010013.
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This essay discusses the genesis, evolution, and impact of the Leningrad Contemporary Music Club (CMC), a pivotal hub for avant-garde and experimental music in the late Soviet Union. Founded amidst the socio-political constraints of the late 1970s, the CMC emerged as a sanctuary for jazz, classical avant-garde, and progressive rock enthusiasts. This paper chronicles the CMC’s unique ability to foster creative expression within the repressive Soviet cultural framework, driven by a coalition of visionaries including such musicians as Sergey Kuryokhin and jazz theoreticians like Efim Barban. The narrative highlights the club’s seminal role in introducing Western avant-garde music to Soviet audiences, hosting groundbreaking performances, and cultivating a vibrant community of musicians, critics, and fans. Through an exploration of the CMC’s organisational strategies, cultural exchanges, and its ultimate closure following state intervention, the paper examines how the Club bridged underground and mainstream music while navigating ideological constraints. The research underscores the CMC’s legacy as a microcosm of resistance and innovation, situating its contributions within broader discussions of Soviet countercultural movements and global avant-garde practices. This work contributes to the historiography of Soviet underground culture, shedding light on the interplay between art, politics, and social transformation in late 20th-century Leningrad.
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Bivins, Jason. "Response to Michael Kaler." Bulletin for the Study of Religion 45, no. 1 (2016): 43–46. http://dx.doi.org/10.1558/bsor.v45i1.29902.
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This response focuses primarily on Kaler's engagement with: the analytical problem of interpreting music without texts, the status of religious "experience" as a disciplinary category, and the relationship between "mainstream" and "avant-garde" musics.
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Anufrieva, N. I., and A. P. Efremenko. "Problem of Forming of Musical-Performing Competency of Pedagogue- Musicians on the Base of Vanguard Works for Folk Instruments." Uchenye Zapiski RGSU 19, no. 3 (2020): 68–75. http://dx.doi.org/10.17922/2071-5323-2020-19-3-68-75.
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the article highlights the problems of developing the teacher-musicians’ performing skills on the material of works of avant-garde composers for folk instruments and proposes ways to solve them. Folk instruments and avant-garde music are still perceived as incompatible phenomenaby many contemporaries, and educational programs in the field of training “Pedagogical Education” (profile “Musical Education”) inherit the traditional approach, which implies the mastery of folk instruments by performers, primarily the classical repertoire, closely related to Russian folk culture. As a result, avant-garde compositions for an accordion or guitar remain out of the attention of both university teachers and their pupils, future specialists in the field of music pedagogy and cultural and educational activities. Conclusions of the study: it is necessary to change the attitude towards folk instruments and the educational potential of avant-garde music for folk instruments; training programs require improvement in the content and composition of disciplines, among which the analysis of musical works and the art of interpretation deserve particular attention; in the teaching methodology, preference should be given to the problematic method and the practice-oriented approach.
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Piekut, Benjamin. "Indeterminacy, Free Improvisation, and the Mixed Avant-Garde:." Journal of the American Musicological Society 67, no. 3 (2014): 769–824. http://dx.doi.org/10.1525/jams.2014.67.3.769.
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John Cage's brand of experimentalism underwent a transformation when it was imported into the UK in the 1960s. There, in contradiction to the American's well-known preferences, indeterminacy became twisted up with jazz-derived free improvisation, owing to discourse that stressed performer freedom and creativity while downplaying notions of non-intention and discipline. The authors of these commentaries created the discursive conditions for a mingling of avant-garde traditions, but the material conditions owed more to the efforts of Victor Schonfield, whose nonprofit organization, Music Now, acquired Arts Council subsidies on behalf of a stylistically heterogeneous avant-garde that included artists working with both improvisation and indeterminacy. Schonfield also invited important guests from overseas, including Ornette Coleman, Musica Elettronica Viva, the Sonic Arts Union, the Instant Composers Pool, Christian Wolff, Sun Ra, the Taj Mahal Travellers, and, in 1972, John Cage himself. In the greater ecology of experimentalism that Schonfield created, improvisation became a kind of contact zone where musicians came together from a number of directions, among them free jazz, score-based indeterminacy, text-based intuitive music, Fluxus-inspired instruction pieces, and even psychedelic rock freak-outs. Music Now produced over 80 concerts between 1968 and 1976, when the organization folded.
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Lena, Jennifer C., and Richard A. Peterson. "Classification as Culture: Types and Trajectories of Music Genres." American Sociological Review 73, no. 5 (2008): 697–718. http://dx.doi.org/10.1177/000312240807300501.
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Questions of symbolic classification have been central to sociology since its earliest days, given the relevance of distinctions for both affiliation and conflict. Music and its genres are no exception, organizing people and songs within a system of symbolic classification. Numerous studies chronicle the history of specific genres of music, but none document recurrent processes of development and change across musics. In this article, we analyze 60 musics in the United States, delineating between 12 social, organizational, and symbolic attributes. We find four distinct genre types—Avant-garde, Scene-based, Industry-based, and Traditionalist. We also find that these genre types combine to form three distinct trajectories. Two-thirds originate in an Avant-garde genre, and the rest originate as a scene or, to our surprise, in an Industry-based genre. We conclude by discussing a number of questions raised by our findings, including the implications for understanding symbolic classification in fields other than music.
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Čurda, Martin. "‘From the Monkey Mountains’: The Body, the Grotesque and Carnival in the Music of Pavel Haas." Journal of the Royal Musical Association 141, no. 1 (2016): 61–112. http://dx.doi.org/10.1080/02690403.2016.1151235.
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ABSTRACTIt has been claimed that Pavel Haas's string quartet ‘From the Monkey Mountains’ (1925) demonstrates the composer's alignment with the ‘Western’ musical avant-garde of the 1920s. However, Haas's avant-garde affiliations remain largely unexplained, as does the influence of Leoš Janáček, with whom Haas studied. Combining the methods of music analysis, semiotics and discourse analysis, I explain how Haas reconciled Janáčekian compositional technique with the ideas underpinning the contemporary Czechoslovak avant-garde movement known as Poetism. Focusing particularly on notions of the body, the grotesque and carnival, I propose an interpretative framework for and a reading of Haas's quartet ‘From the Monkey Mountains’. In doing so, I also illuminate the aesthetic and cultural context of Haas's music from the 1920s, which has received little attention in previous scholarship.
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Zagorski, Marcus. "Making the postwar avant-garde more German." Studia Musicologica 56, no. 4 (2015): 459–66. http://dx.doi.org/10.1556/6.2015.56.4.12.
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At the heart of Carl Dahlhaus’s historiographic interests, according to James Hepokoski, was an “effort to keep the Austro-German canon from Beethoven to Schoenberg free from aggressively sociopolitical interpretations.” But Dahlhaus did not stop at Schoenberg: he also wrote about postwar music, and one might therefore wonder whether his “Austro-German canon” of autonomous music extended past 1945. In his essays on this period, Dahlhaus claimed that the postwar musical avant-garde was defined by the concept of the experiment, a concept that was, he believed, “nothing less than the fundamental aesthetic paradigm of serial and post-serial music.” He maintained this view from the 1960s through the 1980s, and thereby placed the concept of the experiment at the center of his historiography of postwar music. My paper shows that the concept of the experiment, as defined by Dahlhaus, has a uniquely German pedigree, one that is not at odds with his wider historiographic interests. By making the concept of the experiment central to his account of postwar music, Dahlhaus was thereby able to extend his historiography beyond the canon that ran from Beethoven to Schoenberg and include also later composers. In so doing, he lent the supposedly “international” postwar avant-garde a character that seems specifically German.
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Syuta, B. "New Sheet Editions of Chamber Works by Ukrainian Composers." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 134 (November 17, 2022): 155–59. http://dx.doi.org/10.31318/2522-4190.2022.134.269654.
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Hakobian, Levon. "The reception of Soviet music in the west: A history of sympathy and misunderstandings." Muzikologija, no. 13 (2012): 125–37. http://dx.doi.org/10.2298/muz120204015h.
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In this concise survey, the evolution of Western attitudes to Soviet music is retraced: from a certain interest in the early Soviet avant-garde, through ?Cold War? attempts to keep alive the works banned under Stalin, to the support of the Soviet avant-garde of the ?60-70s and the recent vogue for Soviet music of a stylistically ?moderate? kind, which has never been popular among Russian connoisseurs. Side by side with manifestations of sympathy, some typical misunderstandings are pointed out.
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Britton, Eliot. "Genre and Capital in Avant-garde Electronica." Organised Sound 21, no. 1 (2016): 61–71. http://dx.doi.org/10.1017/s1355771815000382.
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This article applies a genre level approach to the tangled discourse surrounding the points of convergence between avant-garde electronica and electroacoustic music. More specifically the article addresses related experimental practices in these distinct yet related fields of electronic music-making. The democratisation of music technology continues to expand into an increasingly diverse set of musical fields, destabilising established power dynamics. A flexible, structured approach to the analysis of these relationships facilitates the navigation of crumbling boundaries and shifting relationships. Contemporary electronic music’s overlapping networks encompass varying forms of capital, aesthetics, technology, ideology, tools and techniques. These areas offer interesting points of convergence. As the discourse surrounding electronic music expands, so must the vocabulary and conceptual models used to describe and discuss new areas of converging artistic practice. Genre level diagrams selectively collapse, expand and arrange artistic fields, facilitating concrete, coherent arguments and the examination of patterns and relationships. Through the genre level diagram’s establishment of distinct yet flexible boundaries, electronic music’s sprawling discourse can be cordoned off, expanded or contracted to suit structured analyses. In this way, this approach clarifies scope and facilitates simultaneous examination from a variety of perspectives.
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Mdivani, T. G. "On continuity in the musical avant-garde." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 69, no. 3 (2024): 221–29. http://dx.doi.org/10.29235/2524-2369-2024-69-3-221-229.
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On the basis of musicological analysis of the composer’s text, the most important style representatives of avant-garde music of the twentieth century are considered: dodecaphony, collage and sonorica. When characterizing dodecaphony, we note its new, non-classical features associated with the equality of 12 tones, reliance on the principle of series, meaning a linear concept of music, rigidus determinism and aesthetic infantilism. The reasons for the exhaustion of the resources of dodecaphony as a creative method and its continuity with the musical classics are explained. When characterizing collage, its reliance on the principle of casualness and its close connection with the phenomenon of quotation, presented in the postnon-classical musical paradigm in a hyperbolized form, are revealed. Particular attention is paid to sonorics, containing the intension to beauty and sensuality. Different types of sonoric text are considered, where such parameters as spatiality, hypermultiplicity, and timbricity are emphasized. It is pointed out that the accentuation of colorful sonority led to “monotony of luxury”, the principle of repetition – to excessive constructive simplicity, the timbre side of music – to dull /boring/ sameness of style pattern. The genesis of the phenomenon and its connection with the stereophonicity of sound in temple music is outlined. The aim of the work is to reveal the genesis of avant-garde innovations, the tasks are to show the ways of adaptation of classical principles of music in the musical avant-garde of the twentieth century, represented by non-classical and postnon-classical style of musical thinking. The main conclusion of the work is the thesis – Littĕra scripta manet.
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Nowicka, Daria. "Awangarda panoramicznie." Poznańskie Studia Slawistyczne, no. 18 (April 28, 2020): 305–17. http://dx.doi.org/10.14746/pss.2020.18.19.
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The Seeing Avant-garde [Widzenie awangardy] volume edited by Agata Stankowska, MarcinTelicki and Agata Lewandowska is a collection of the articles about the avant-garde update.Written by many researchers, the articles show a wide scale of research on the contemporaryavant-garde manifested in literature, art, music, theatre and cybernetics. As an extremely valuablepublication, the book in question concentrates on the new and original methods of comparativeresearch, marks new reading directions, and presents contemporary problems of aesthetics.
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Lipták, Michal. "Roman Ingarden’s Problems with Avant-garde Music." Estetika: The European Journal of Aesthetics 50, no. 2 (2013): 187. http://dx.doi.org/10.33134/eeja.109.
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Egbe, Amanda. "Avant Garde Museology." Leonardo 50, no. 2 (2017): 217–18. http://dx.doi.org/10.1162/leon_r_01393.
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Jakelski, Lisa. "Góórecki's Scontri and Avant-Garde Music in Cold War Poland." Journal of Musicology 26, no. 2 (2009): 205–39. http://dx.doi.org/10.1525/jm.2009.26.2.205.
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Abstract Poland's post-1956 cultural liberalizations sat uneasily in the midst of a Cold War binary that equated avant-gardism with artistic freedom and socialist realism with aesthetic coercion. During 1960––61, Polish composers and critics debated the seeming paradox of official support in Poland for avant-garde aesthetics. Their disputes arose after the premiere of Henryk Mikołłaj Góórecki's Scontri (Collisions) for Orchestra, op. 17, at the 1960 Warsaw Autumn Festival; disrupted the General Assembly of the Polish Composers' Union in December 1960; and persisted in the journal Ruch Muzyczny (Musical Movement) during the early months of 1961. Taken together, the successive stages of debate show how defenses of Polish avant-garde music intersected with competing cultural imperatives of the Cold War. Maneuvers by composers and critics formed a musical corollary to the ““Polish road to socialism”” that Włładysłław Gomułłka had engineered with the Soviet Union, an agreement by which expanded internal freedoms would be tolerated as long as no serious steps were taken to abandon state socialism in Poland. The amenability of music to such critical moves, paired with the growing international prestige of Polish avant-garde composers and the Warsaw Autumn Festival, suggests why music was spared the reimposition of restrictive governmental oversight as Poland's Thaw came to a close.
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Benthien, Claudia, and Wiebke Vorrath. "German sound poetry from the neo-avant-garde to the digital age." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 7, no. 1 (2017): 4–26. http://dx.doi.org/10.7146/se.v7i1.97176.
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This article gives insight into German-language sound poetry since the 1950s. The first section provides a brief historical introduction to the inventions of and theoretical reflections on sound poetry within the avant-garde movements of the early 20th century. The second section presents works by Ernst Jandl and Gerhard Rühm as examples of verbal poetry of the post-war neo-avant-garde. The following two sections investigate contemporary sound poetry relating to avant-garde achievements. Section three deals with two examples that may be classified as sound poetry in a broader sense: Thomas Kling’s poem broaches the issue of sound in its content and vocal performance, and Albert Ostermaier’s work offers an example of verbal poetry featured with music. The fourth section presents recent sound poetry by Nora Gomringer, Elke Schipper and Jörg Piringer, which are more distinctive examples relating to avant-garde poetry genres and use recording devices experimentally.
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MUSSGNUG, FLORIAN. "Writing Like Music: Luciano Berio, Umberto Eco and the New Avant-Garde." Comparative Critical Studies 5, no. 1 (2008): 81–97. http://dx.doi.org/10.3366/e1744185408000281.
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Die Dichtung des Lyrikers kann nichts aussagen, was nicht in der ungeheuersten Allgemeinheit und Allgültigkeit bereits in der Musik lag, die ihn zur Bilderrede nötigte. Der Weltsymbolik der Musik ist eben deshalb mit der Sprache auf keine Weise erschöpfend beizukommen. (The poems of the lyrist can express nothing that did not already lie hidden in that vast universality and absoluteness of the music that compelled him to figurative speech. Language can never adequately render the cosmic symbolism of music).
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Jr., Guthrie P. Ramsey, and David Glen Such. "Avant-Garde Jazz Musicians: Performing "Out There"." American Music 13, no. 3 (1995): 364. http://dx.doi.org/10.2307/3052623.
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Lniak, Agnieszka. "Soniczne maszynerie: Window Katharine Norman i Earjobs Johannesa Kreidlera." Przegląd Kulturoznawczy, no. 1 (59) (September 25, 2024): 230–45. http://dx.doi.org/10.4467/20843860pk.24.014.20080.
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The context of this article is the term sonosphere, which, according to Tomasz Misiak, is one of the three sonic spheres and one that relates directly to the achievements of the musical avant-garde. The article opens with a polemic against the claim that the sonosphere refers exclusively to avant-garde and experimental music (i.e. music that has been institutionalized) but admits that art can conceptually problematise the sonosphere. The author therefore undertakes an interpretation of two works that are themselves reinterpretations of John Cage's concept of silence. The former is Katharine Norman's “Window” piece from the digital literature genre, which uses interface interaction and various sensory stimuli (sound, image, text) to rethink the sonosphere of the home and the relationship between the private and public sonosphere. The latter is Johannes Kreidler's “Earjobs”, in which the composer combines the act of listening to experimental music (such as John Cage’s 4’33”) with hired labor. In doing so, he stimulates a discussion on the meaning of the avant-garde, the act of listening, and the status of the listening subject in the capitalist system, especially when we talk about silence.
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Holotenko, Pavlo. "Jazz Avant-Garde by Cecil Taylor." Aspects of Historical Musicology 19, no. 19 (2020): 466–81. http://dx.doi.org/10.34064/khnum2-19.27.
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The relevance of the subject. Jazz music is a vivid, unique and distinctive phenomenon of the world culture, which is a grand achievement of many-years musical practice of humanity. In the context of the artistic culture of the modern information society, jazz art plays an essential part and is really quite interesting. The creative activity of jazz performers has always attracted the attention of the audience, caused a diverse reaction and today has many supporters in different parts of the world. Since the middle of the XX century, more and more trends have begun to emerge in jazz music, which led to the understanding of philosophical and psychological issues, in particular, ethical, aesthetic, social and other aspects. In this connection, new styles began to form in jazz, which in fact represented the emergence of the next, radically new stage in the evolution of jazz art. In the second half of the XX century there appeared jazz avant-garde – an entirely new cultural phenomenon that has its own history and philosophy, genre and style. In musicology, this concept can also be called “abstract jazz”, “new jazz”, “free jazz”, etc. It is clear that this trend is at the crossroads of two separate types of art – musical avant-garde and jazz, so it attracts admirers from both sides. Compared to traditional classic jazzmen, many prominent musicians of jazz avant-garde are still little known. Among them are composer and pianist Cecil Taylor, who was a compelling opponent of jazz traditions. His style is unique, his music is one of the most striking examples of musical avant-garde in the history of art. Nowadays, the scientific literature has no fundamental works devoted entirely to the analysis of C. Taylor’s avant-garde art. This circumstance also enhances the relevance of studying specific features of C. Taylor’s performing style. The purpose of the research is to determine peculiarities of Cecil Taylor’s creative style and related techniques of music speech. Achieving the goal involves solving the following tasks: to determine the difference between artistic systems of classic and avant-garde jazz; to outline the main informative paradigms of C. Taylor’s creative work; to analyze the technology of expressive means of C. Taylor’s music; to reveal the significance of C. Taylor’s avant-garde activity and to identify its place in the world of modern artistic culture. Research methods. The research is based on the interaction of scientific approaches, the most important of which are: analytical, which involves elaboration of musical means of expressiveness and composition technique of sounds organization; comparative, used to compare specific features of artistic systems of jazz mainstream and avant-garde; semantic, necessary for defining the content of music pieces, their meanings, images, mood; biographical, with the help of which certain facts of the musician’s biography are specified for a better understanding of his creative personality. Results of the study confirm the fact that in the world of artistic culture Cecil Taylor is one of the greatest representatives of the radical musical avant-garde. The basis of his art is the so-called “aesthetics of opposition”, the central idea of the artistic system of jazz avant-garde, according to which any artistic truth categorically established for all others cannot exist. In this context, the individualization of style, the relativity of all aesthetic ideals and the unlimited spectrum of expressive possibilities are stated, which is conditioned by the optimal disclosure of the figurative and emotional content of the piece. At the same time, the central object of the avant-garde jazz denial is the concept of the classic jazz art, based on the so-called “aesthetics of identity”. Its main idea is to adhere to structural stamps in order to maximally approach the stylistic aesthetic ideal. Such an ideal is the given classical theme-standard. Actually, this is an artistic truth for the jazz mainstream, to which one should aspire. Avant-gardists did not agree with this situation, for them it was nothing more than imposing personal whims by adherents of jazz traditions. The main informative paradigms of C. Taylor’s avant-garde art are antiromanticism, realistic pessimism and dystopia. The essence of anti-romanticism is to deny the domination of sentimentality, subjectivity, dreaminess and escape from reality, typical for romanticism. In their place, the primacy of rationalism, collectivity and pursuit of objectivism are established. Realistic pessimism is a worldview where, basing on tragic experience attention is focused on negative aspects, which leads to a belief in the eternal dominance of evil all over the world. Anti-utopia is recognition of the deception of utopia, the denial of the achievement of social ideals and the possibility of creating the world of justice. The main means of expressiveness of this ideological content in C. Taylor’s works are atonality, disharmony and percussive pianism. Conclusions. According to the research findings, we conclude that Cecil Taylor made a significant contribution to the development of modern culture. He was a compelling opponent of jazz traditions, always remained an uncompromising fighter for new jazz. Cecil Taylor is a virtuoso pianist and prominent improviser, one of the best representatives of avant-garde jazz in the world. Cecil Taylor discovered a new bright side of musical art and stimulated the public to redefine spiritual values and view of world as a whole. His work attracts and will attract attention of all those who are interested in contemporary art.
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Graham, Stephen. "(Un)Popular Avant-Gardes: Underground Popular Music and the Avant-Garde." Perspectives of New Music 48, no. 2 (2010): 5–20. http://dx.doi.org/10.1353/pnm.2010.0004.
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Wright, David, Various Artists, Nellie Lee, and Alexander Lazarev. "Music of the Russian Avant Garde, 1910-1930." Musical Times 134, no. 1804 (1993): 353. http://dx.doi.org/10.2307/1003081.
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Allaerts, Wilfried. "On Music and Soul: Coltrane’s My Favorite Things, LeRoi Jones' Black Music and Adorno's papers on Jazz." International Journal of Arts and Humanities 2, no. 1 (2022): 56–69. http://dx.doi.org/10.25082/ijah.2021.01.003.
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In this review, we elaborate on the contrasts between Theodor W. Adorno’s philosophy of New Music and E. LeRoi Jones’ reports on the Avant-Garde of Jazz in Black Music. Whereas Adorno’s papers on jazz nowadays are considered at least inadequate to describe the post-war developments in jazz, and, according to some, rather refer to the German salon music of the Weimar Republic, an interesting key figure of the emancipation of jazz is found in John Coltrane’s music. In Coltrane’s version of My Favorite Things, an audaciously musical and conceptual link is found between the popular music of the Broadway musical, the avant-garde of jazz and a famous masterpiece of the Baroque era. Consequently, building upon a statement by Blaise Pascal, the notion of passion in music – in contrast with the notion of boredom - is analyzed in relation to the personality structure of gifted individuals, as described by Kazimierz Dąbrowski and followers.
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Sovtić, Nemanja. "Rudolf Bruči and the criticism of the European avant-garde." Studia Musicologica 56, no. 4 (2015): 429–41. http://dx.doi.org/10.1556/6.2015.56.4.10.
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Yugoslav composer Rudolf Bruči is known on the international scene primarily as the author of Sinfonia Lesta, a composition winning the first prize in 1965 at the Queen Elizabeth Competition in Belgium. On a national level, Bruči was a powerful social entity, not only in respect of his creative freedom. As a member of the League of Communists, Bruči spent a lifetime as an official in social organizations and cultural institutions, thus dictating the rhythm of musical life of Novi Sad and the Province of Vojvodina, until the collapse of Socialism when he was suddenly forgotten. The developmental line of Bruči’s oeuvre – leading from Zhdanovian national classicism, through the adoption of elements of the European avant-garde, to the reaffirmation of a national/regional idiom in the mid-1970s – largely corresponds to the general tendencies of postwar art music in the socialist countries of Eastern and South-Eastern Europe. Bruči broke with the European avant-garde models not only in his creative practice, but he also reasoned it in the articles “The Composers’ Role in the Modern Development of Self-governing Socialist Society,” “Statements of Yugoslav Music Forum Composers’ Workgroup,” and “Manifesto of the ‘Third Avant- Garde’,” where he based his discourse on conformism, lack of communication and dehumanization of avant-garde, and in particular on Yugoslav ideological projects, such as self-management, non-alignment, and deprovincialization. The article analyzes the context in which Bruči’s creative transformation during the 1970s was expressed as the criticism of the Eurocentric cultural model, as well as the suspicion towards the imperative of modernization in a world obsessed with technological advances.
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Mustafayev, Femiy. "Ukrainian vocal music of the 20th – early 21st century in the pedagogical repertoire of the soloist-vocalist." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 154–59. http://dx.doi.org/10.32461/2226-2180.39.2021.238712.
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The purpose of the article. The paper describes the contemporary vocal pedagogical repertoire from the standpoint of its representativeness in relation to musical trends of the 20th – early 21st century. The methodology is based on a combination of historical, cultural, systemic, analytical, predictive methods, which made it possible to demonstrate the limited educational repertoire of vocalists, respectively, with didactic tasks and potential openness to expand its genre and style palette in connection with the need to train a universal academic singer. The scientific novelty of the paper lies in the fact that in Ukrainian science for the first time the problematic issues of the content of the pedagogical repertoire of academic vocalists in the context of the genre and style diversity of vocal music of the 20th – early 21st centuries were revealed. Conclusions. The contemporary pedagogical repertoire used in the preparation of academic vocalists does not reflect the stylistic and genre diversity of the musical art of the 20th – early 21st centuries, in particular, it does not contain avant-garde compositions, which have long been a constant of contemporary musical culture. Practical acquaintance with avant-garde classics is possible as part of an elective for those vocalists who plan to specialize in this direction of academic music, however, the pedagogical repertoire of training an academic vocalist does not provide for the performance of works of an avant-garde character and the acquisition of appropriate skills. The reasons for the inexpediency of including avant-garde music of the 20th – early 21st century in the main educational repertoire is the absence of a temporal distance, not always a high artistic level of contemporary works, the impossibility of including contemporary vocal music of an avant-garde character in the anthology due to the peculiarities of its notation and forms of existence, as well as the priority for the educational process of the classical vocal repertoire as such that forms the vocalist’s executive apparatus. At the same time, Ukrainian variety classics of the 20th century is an integral part of the educational repertoire of a contemporary academic vocalist, as it serves as a bridge between elite and popular musical culture.
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Demchenko, Alexander I. "Russian musical avant-garde of the early 20th century and D. Shostakovich’s "The Nose"." Ученые записки Российской академии музыки имени Гнесиных 4, no. 51 (2024): 44–55. https://doi.org/10.56620/2227-9997-2024-4-44-55.
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The article is devoted to D. Shostakovich’s opera "The Nose", which is considered in the context of the Russian avant-garde of the early XX century. It is noted a rather wide range of artistic search of representatives of the early avant-garde in Russian music: polytonality and multi-second chords (V. Rebikov), atonalism and principles of serial organisation of sound material (E. Golyshev, N. Roslavets), experiments of quarter-tone music (A. Avraamov, I. Vyshnegradsky, A. Lurie, M. Matyushin), anticipation of pointillism and minimalism, approbation of noise, concrete and electronic music techniques (A. Lurie, N. Obukhov), constructive-urban aspirations (V. Deshevov, A. Mosolov). It is then stated that this panorama of the Russian musical avantgarde must be joined by those creators of art whose creative endeavours were no less intense and whose fruitfulness of endeavours proved to be extremely important — we mean the intensity of the artistic endeavours of the late A. Scriabin, I. Stravinsky and S. Prokofiev. The early D. Shostakovich, whose most radical opus was the opera "The Nose", was no less daring in his innovations. The article discusses in detail the main parameters of its "avant-garde" character: grotesque orientation, parodic nature, paradoxicality, aesthetics of absurdity, condensed criticism, demonstrative unconventionality of the performance and experimental nature of the instrumental score.
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BARRETT, G. DOUGLAS. "Contemporary Art and the Problem of Music: Towards a Musical Contemporary Art." Twentieth-Century Music 18, no. 2 (2021): 223–48. http://dx.doi.org/10.1017/s1478572220000626.
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AbstractThis article elaborates the art-theoretical concept of ‘the contemporary’ along with formal differences between contemporary music and contemporary art. Contemporary art emerges from the radical transformations of the historical avant-garde and neo-avant-garde that have led to post-conceptual art – a generic art beyond specific mediums that prioritizes discursive meaning and social process – while contemporary music struggles with its status as a non-conceptual art form that inherits its concept from aesthetic modernism and absolute music. The article also considers the category of sound art and discusses some of the ways it, too, is at odds with contemporary art's generic and post-conceptual condition. I argue that, despite their respective claims to contemporaneity, neither sound art nor contemporary music is contemporary in the historical sense of the term articulated in art theory. As an alternative to these categories, I propose ‘musical contemporary art’ to describe practices that depart in consequential ways from new/contemporary music and sound art.
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Shapovalova, Liudmyla, Іryna Romaniuk, Marianna Chernavska, and Svitlana Shchelkanova. "Early (Avant-garde) Symphonies by Valentin Silvestrov As a Sound Universe." Studia Universitatis Babeş-Bolyai Musica 66, no. 1 (2021): 329–43. http://dx.doi.org/10.24193/subbmusica.2021.1.21.
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"In the article under consideration are the ways of symphony genre transformation in the early works of Valentin Silvestrov (Ukraine). For the first time, the First, Second, Third, and Fourth symphonies by the genius composers of the 20th century are analyzed as a certain stylistic system. These compositions are endowed with the features of avant-garde poetics, and as a subject of musicological reflection, they are associated with a rethinking of the semantic paradigm of the genre. V. Silvestrov's early symphonies stand out from the classical practice of European symphonies. Scientific awareness of their phenomenal nature necessitated a methodological choice aimed at the most accurate identification of the philosophical concept of the new sound universum of V. Silvestrov's music. Deep correlation of the image of a human being as a factor of the symphony poetics (the influence of philosophical concepts of human ontology in the 20th century with the transformation of the genre canon) is considered. This refers to the nonmusical dimension of the genre semantics. The study of V. Silvestrov's early symphonies reveal a new philosophy of music through gradual movement – modulation: from the neo-baroque First Symphony and ""cosmic pastorals"" Musica Mundana of the Second Symphony through the history anthropologisation in the Third Symphony ""Eschatology"" to the monodrama Musica Humana in the Fourth Symphony. The dichotomy of Musica Mundana – Musica Humana is not accidental: in V. Silvestrov's creative method, remains relevant, which is confirmed by the dramaturgy of his latest work – the Ninth symphony (2019). Keywords: V. Silvestrov's early symphonies, evolution of style, worldview, Musica Mundana, monodrama. "
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Munipov, Alexey, Ruth Juliet Wikler, Obett Motaung, Kateryna Botanova, and Aguibou Bougobali Sanou. "Vantage Points: Critical Essays, Historiographic Accounts, First-Person Narratives." TURBA 3, no. 2 (2024): 71–110. https://doi.org/10.3167/turba.2024.030208.
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A story is told about the composer Tigran Mansurian, a living classic of contemporary Armenian music. He was born in Beirut to an Armenian family and moved with his parents to Soviet Armenia in 1947. They settled in a small mountain town, where Mansurian taught himself music, quickly falling under the spell of Anton Webern and postwar avant-garde. For the premiere of his first rather complex symphonic piece, he invited his fellow townspeople and neighbors. Seating them in the front row, he anxiously observed their faces. He knew that they had not only never heard such music before but had never even attended a symphony orchestra concert: most of his neighbors worked in the stone quarries. Mansurian's avant-garde composition, based on strict serial techniques, was listened to with very stern faces. Finally, one of them smiled and said, “I recognize Tigran!”
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Kogler, Susanne. "Art as a Critique of Language: On the Continuity of the Tradition of the Avant-Garde Aesthetic in the Modern and the Postmodern." Musicological Annual 43, no. 2 (2007): 287–303. http://dx.doi.org/10.4312/mz.43.2.287-303.
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That art functions as a corrective to rational-scientific insights is one of the formative thoughts of art philosophy. The fact that artistic expression represents a corrective to linguistically-rationally affected insight also ranks among the constants of art philosophy in the 20th century. “Expression is the opponent of articulating something” can be read, for instance, in Adorno’s Aesthetic Theory with regards to the character of language in art and Jean François Lyotard wrote on aesthetic experience: “What happens to us is by no means something which we would have controlled, programmed or conceptually apprehended beforehand”. The uneducible, conceptually unattainable is also at the centre of current art production of the 21st century. On the basis of Lyotard’s and Adorno’s positions, the article shows that one should acknowledge a constancy of the topos of art as non-conceptual knowledge on the one hand as the continuing function of a tradition defined from the philosophical aesthetics of modernity to post-modernity and orientated on the artistic avant-garde. On the other hand and beyond this a continuous line of tradition of New Music becomes clear, leading to the expressionistic avant-garde of the 20th century which represented the starting point for Adorno’s music philosophy, through Lyotard’s focus on John Cage, up to the avant-garde of New Music in the era of post modernity. Specific features of contemporary art, such as rebellion against linguistic standards, an understanding of expressivity that opposes the traditional language of music and operates on the verge of silence, as well as the utopian vision of a modified reality which aims at transcendency enable a conception of art as non-conceptual knowledge, corresponding with the positions of art philosophy in modernity and post-modernity in important points. The relevance of focusing on this line of tradition for musicology lies in the fact that it sheds new light on the musical avant-garde and its further function and, last but not least, that it opens new perspectives in understanding contemporary artistic productions.
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Michael Hicks. "Mass Marketing the American Avant-Garde, 1967–1971." American Music 35, no. 3 (2017): 281. http://dx.doi.org/10.5406/americanmusic.35.3.0281.
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Pavlov, Evgeny. "Destroying Vision, Destroying Hearing: Sergei Kuriokhin and Arkady Dragomoshchenko." Arts 13, no. 6 (2024): 181. https://doi.org/10.3390/arts13060181.
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The article explores the unique friendship and creative synergy between two towering figures of late Soviet underground culture, the avant-garde jazz musician Sergei Kuriokhin and the poet Arkady Dragomoshchenko. Both outsiders in Leningrad, they shaped its literary and musical landscapes without aligning with any movements. Dragomoshchenko, a seminal poet, defied categorization, while Kuriokhin, a polymath, challenged conventions across music, performance, and politics. Their collaboration epitomized innovation, blending Dragomoshchenko’s cerebral poetry with Kuriokhin’s avant-garde music. Despite linguistic barriers, their connection transcended verbal communication, rooted in shared modes of nonlinear thinking and creative experimentation. Kuriokhin’s revolutionary Pop Mekhanika, a chaotic fusion of genres and sensory experiences, mirrored Dragomoshchenko’s relentless poetic evolution. Their friendship catalyzed pivotal encounters, such as with the American poet Lyn Hejinian, expanding their artistic horizons. Dragomoshchenko’s poetic vision, centred on perception’s fleeting nature and the boundaries of possibility, echoed Kuriokhin’s multisensory assaults on audience expectations. Through their unconventional artistry, Kuriokhin and Dragomoshchenko navigated the shifting cultural landscape of late Soviet society, embodying a spirit of defiance and exploration. Their enduring influence transcends their untimely deaths, leaving an indelible mark on Russian avant-garde culture.
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Rovner, Anton А. "The Transformation of a Music Festival in St. Petersburg “The World of Art. Contrasts”." ICONI, no. 2 (2019): 159–71. http://dx.doi.org/10.33779/2658-4824.2019.2.159-171.
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The article presents the history of an extraordinary music festival organized in St. Petersburg by two composers Igor Rogalev and Igor Vorobyev. The festival was fi rst called “From the Avant-garde to the Present Day,” subsequently “From the Avant-garde to the Present Day. Continuation,” and during the last three years — “The World of Art. Contrasts.” This festival was founded in 1992, and its aim was to create a venue for performance of music by contemporary composers and representatives of the “forgotten generation” of the early 20th century Russian avant-garde movement, such as Nikolai Roslavetz, Alexander Mosolov, Arthur Lourie, etc. Many premieres of these and other composers were performed at this festival, as well as well-known works by such early 20th century established masters as Arnold Schoenberg, Alexander von Zemlinsky, Igor Stravinsky, Bela Bartok, etc. Some of the leading contemporary composers of the late 20th and early 21st century were invited to participate in the festival, as were numerous outstanding performances, ensembles and orchestras up to the St. Petersburg Mariinsky Theater, artists, poets and writers. At the present time the artistic goal of the festival is to connect the strata of music by contemporary composers with the masterpieces of the great classics of the previous centuries — from the Renaissance era to the 19th century. Each year the festival has a certain particularthemes, such as, for instance, Italian music or Japanese music, around which the program is built endowed with a broad stylistic and genre-related pallette.
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MUSSER, JORDAN. "The Avant-Garde is in the Audience: On the Popular Avant-Gardism of Linton Kwesi Johnson's Dub Poetry." Twentieth-Century Music 16, no. 3 (2019): 457–99. http://dx.doi.org/10.1017/s147857221900029x.
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AbstractThis article presents a historical study of black British poet and recording artist Linton Kwesi Johnson. Drawing on archival research, I argue that Johnson's hybrid literary and reggae-based practice, known as ‘dub poetry’, offers fresh insight into the status of ‘the popular’ in histories and theories of the avant-garde, and of black avant-gardism specifically. I begin by discussing Johnson's participation in the Caribbean Artists Movement, a hub for diasporic arts in 1960–70s London, whereupon I show how dub poetry transposed the ideas of Johnson's colleague, pan-African Marxist C. L. R. James, in simultaneously documenting and instigating grassroots efforts at community centres where Johnson worked, notably the Race Today Collective. I contend that Johnson forged a cultural programme that paralleled James's well-known rejection of the elitist model of the political vanguard: Johnson furnished a ‘popular avant-garde’, as I call it, whose community-oriented ethos was realized via popular media like the LP and mass-democratic – populist – action campaigns.
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Kluszczynski, Ryszard W. "Re-Writing the History of Media Art: From Personal Cinema to Artistic Collaboration." Leonardo 40, no. 5 (2007): 469–74. http://dx.doi.org/10.1162/leon.2007.40.5.469.
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The author reinterprets the artistic phenomena that composed historical avant-garde art. His method of interpretation is an intertextual strategy that approaches the historical artifacts through recent phenomena. The first case study is of structural film; its most important attributes appear to be artistic strategies questioning the structural/material integrity, durability and permanence of the film work. The second case study is of the avant-garde strategy of collective work, reinterpreted through the open-source work and interactive art of today. The author identifies three steps in the development of the 20th-century concept of joint creative work: avant-garde general strategies of artistic collaboration; avant-garde film works oriented toward creative collectivism; and collaborative artistic practices that manifest themselves in non-hierarchical strategies of contemporary interactive art.
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Ball, Philip. "Playing to the quantum beats." Physics World 36, no. 4 (2023): 26–30. http://dx.doi.org/10.1088/2058-7058/36/04/27.
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Computers and digital technology are central to the modern music industry – but what could quantum computers bring to the party? Philip Ball tunes in to an avant-garde band of musicians and scientists who are exploring how quantum computing can be used to make and manipulate music.
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Шатрашанова, Мария Викторовна. "Nazib Zhiganov Between the Official Ideology and New Music." Музыкальная академия, no. 1(773) (March 31, 2021): 60–69. http://dx.doi.org/10.34690/128.
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В статье рассматривается личность одного из ведущих татарских композиторов XX века - Назиба Гаязовича Жиганова. Актуальнейшей проблемой, с которой столкнулся композитор, было применение западных техник композиции в творчестве авторов из национальных республик. На сегодняшний день существует представление о Жиганове как о человеке консервативных взглядов, отрицавшем западные новации. Однако композитор был чутким музыкантом, выступавшим за обновление национального языка и обладавшим умением увидеть позитивные стороны новой музыки. The main theme of this article is personality of Nazib Gayazovich Zhiganov who was one of the leading tatar composers in the 20 century. The problem of using of avant-garde techniques by national composers was one of the most important in Zhiganov leader and composer activity. For today he is more famous as a conservative person who denied modern achievement of foreign music. However, Zhiganov was a responsive musician who supported national music changings and could detect the positive qualities of avant-garde music.
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Kuleszewicz, Anna. "Aleś Puszkin — czołowa postać białoruskiej awangardy?" Kultury Wschodniosłowiańskie - Oblicza i Dialog, no. 7 (July 31, 2018): 87–98. http://dx.doi.org/10.14746/kw.2017.7.7.
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Avant-garde, a rebellious band of new trends and tendencies in art that appeared in the early 20th century, lasted for years being transformed, yielding the new forms of expression. It is also a trend of art most often associated with contemporaryBelarusian art (partially due to “school of Vitebsk”, Marc Chagall and Kazimir Malevich), still enjoying popularity in the country. One of the most recognizable Belarusian artistsis Ales Pushkin, born in 1965 in Bobr, associated with the Achremczuk’s National Schoolof Music and the Arts in Minsk and Vitebsk artistic environment. Pushkin is known for his indomitable, rebellious attitude towards the state regime. For many observers, art amateurs and even art critics, the character of his work immediately resembles avant-garde. However, as some researchers noted, Pushkins’ art enters a new dimension,paving the way towards new horizons of contemporary (avant-garde?) art of Belarus.
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Creuheras, Pol, Marta Delatte, and Cristian Palazzi. "Música y tecnología: la eclosión de lo virtual en la composición sonora." Tripodos, no. 26 (January 1, 2010): 29–38. https://doi.org/10.51698/tripodos.2010.26.29-38.
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Music and its special relationship with technology represent a paradigm for understanding the emergence of the virtual in contemporary society. From the second half of the twentieth century, technological innovation has played a leading role in musical research. In turn, the democratization of this type of technology has blurred the dividing line between avant-garde music and popular music.