The Outlook for Young Composers

Wuorinen, Charles

doi:10.2307/832103

Cited by 3 publications

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“…Rochberg (1963:9-10) refers to Mircea Eliade's argument that modern artists have become future oriented because they feel that the study of history has no solutions for the present. Wuorinen (1967) suggests that contemporary artists seek escape from the past, seeing the future as a panacea. Carter (1966:250-51) credits modern technology with the dubious distinction of being able to preserve and record so much of the past that people wish to escape its pervasive and overwhelming impact.…”

Section: Composers' Conceptions Of Changementioning

confidence: 99%

Fighting with Words: American Composers' Commentary on Their Work

Cameron¹

1985

Comp Stud Soc Hist

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In the past few decades, there has been an explosion of literature concerning the changes taking place in American art music. In many cases, this literature is the work of the very people who are making those changes, the composers of new music. Much of their commentary is written in a manifesto style reminiscent of avant-garde movements of the early twentieth century. The dominant topic concerns the changes composers feel are needed to revolutionize American music.

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Section: Composers' Conceptions Of Changementioning

confidence: 99%

Fighting with Words: American Composers' Commentary on Their Work

Cameron¹

1985

Comp Stud Soc Hist

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Organizing the musical canon

Dowd

Liddle

Lupo

et al. 2002

Poetics

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The Poetics and Politics of Ambiguity

Stephenson

2022

MTO

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The use of the harmonic series as a pitch-generating resource is a significant trend in twentieth- and twenty-first-century composition. While the principle of equal temperament prioritizes an additive understanding of intervals, the harmonic series implies a ratio-based approach to pitch relationships. Despite these philosophical differences and the sometimes polemical debates that have attended to them, the works of Julian Anderson (1967–) and Rand Steiger (1957–) draw simultaneously on overtone-based and equal-tempered harmonic thinking. These two composers are part of a group of musicians who have proposed various hybrid approaches to harmonic construction, and their works are also notable for playing out interactions between these influences in ways that reflect the composers’ political concerns. In this paper, I combine examinations of Anderson’s and Steiger’s characteristic harmonic strategies with close analyses of two quartertone-based works: Anderson’s Eden (2005) and Steiger’s Post-truth Lament (2017). I use these discussions to consider the pieces’ diverse political resonances. Ultimately, I argue that their hybrid harmonic approaches serve to highlight the multifaceted implications of ambiguity—not only its musically generative potential, but also its capacity to transform contemporary political life in ways both corrosive and constructive.

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The Outlook for Young Composers

Cited by 3 publications

References 0 publications

Fighting with Words: American Composers' Commentary on Their Work

Fighting with Words: American Composers' Commentary on Their Work

Organizing the musical canon

The Poetics and Politics of Ambiguity

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