Contemporary classical music

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"Contemporary art music" redirects here. For other forms of contemporary music, see Popular music.
Major eras of
Western classical music
Early music
Medieval c. 500–1400
Transition to Renaissance
Renaissance c. 1400–1600
Transition to Baroque
Common practice period
Baroque c. 1600–1750
Transition to Classical
Classical c. 1730–1820
Transition to Romantic
Romantic c. 1800–1910
Transition to Modernism
Neue Musik
Modernism c. 1890–1975
Transition to Postmodernism
Postmodernism from c. 1960
Contemporary from c. 1945
 • 20th-century
 • 21st-century

Contemporary classical music is

minimalist music. Newer forms of music include spectral music, and post-minimalism
.

History

Background

Main article: 20th-century classical music

At the beginning of the 20th century, composers of classical music were experimenting with an increasingly dissonant pitch language, which sometimes yielded atonal pieces. Following World War I, as a backlash against what they saw as the increasingly exaggerated gestures and formlessness of late Romanticism, certain composers adopted a neoclassic style, which sought to recapture the balanced forms and clearly perceptible thematic processes of earlier styles[1] (see also New Objectivity and social realism). After World War II, modernist composers sought to achieve greater levels of control in their composition process (e.g., through the use of the twelve-tone technique and later total serialism). At the same time, conversely, composers also experimented with means of abdicating control, exploring indeterminacy or aleatoric processes in smaller or larger degrees.[2] Technological advances led to the birth of electronic music.[3] Experimentation with tape loops and repetitive textures contributed to the advent of minimalism.[4] Still other composers started exploring the theatrical potential of the musical performance (performance art, mixed media, fluxus).[5] New works of contemporary classical music continue to be created. Each year, the Boston Conservatory at Berklee presents 700 performances. New works from contemporary classical music program students comprise roughly 150 of these performances.[6]

1945–75

To some extent, European and the US traditions diverged after World War II. Among the most influential composers in Europe were Pierre Boulez, Luigi Nono, and Karlheinz Stockhausen. The first and last were both pupils of Olivier Messiaen. An important aesthetic philosophy as well as a group of compositional techniques at this time was serialism (also called "through-ordered music", "'total' music" or "total tone ordering"), which took as its starting point the compositions of Arnold Schoenberg and Anton Webern (and thus was opposed to traditional twelve-tone music), and was also closely related to Le Corbusier's idea of the modulor.[7] However, some more traditionally based composers such as Dmitri Shostakovich and Benjamin Britten maintained a tonal style of composition despite the prominent serialist movement.

In America, composers like Milton Babbitt, John Cage, Elliott Carter, Henry Cowell, Philip Glass, Steve Reich, George Rochberg, and Roger Sessions formed their own ideas. Some of these composers (Cage, Cowell, Glass, Reich) represented a new methodology of experimental music, which began to question fundamental notions of music such as notation, performance, duration, and repetition, while others (Babbitt, Rochberg, Sessions) fashioned their own extensions of the twelve-tone serialism of Schoenberg.

Movements

Neoromanticism

Main article: Neoromanticism (music)

The vocabulary of extended tonality, which flourished in the late 19th and very early 20th centuries, continues to be used by contemporary composers. It has never been considered shocking or controversial in the larger musical world—as has been demonstrated statistically for the United States, at least, where "most composers continued working in what has remained throughout this century the mainstream of tonal-oriented composition".[8]

High modernism

Main article: High modernism

dodecaphony, or twelve-tone technique
, which is alternatively regarded as the model for integral serialism.

Despite its decline in the last third of the 20th century, there remained at the end of the century an active core of composers who continued to advance the ideas and forms of high modernism. Those no longer living include

Magnus Lindberg,[10] George Benjamin, Brian Ferneyhough, Wolfgang Rihm, Richard Wernick, Richard Wilson, and James MacMillan.[12]

Electronic music

Main article: Electronic music
Computer music
Main article: Computer music

Between 1975 and 1990, a shift in the paradigm of computer technology had taken place, making electronic music systems affordable and widely accessible. The personal computer had become an essential component of the electronic musician's equipment, superseding analog synthesizers and fulfilling the traditional functions of composition and scoring, synthesis and sound processing, sampling of audio input, and control over external equipment.[13][needs update]

Music theatre

Main article: Music theatre

Spectral music

Main article: Spectral music

Polystylism (eclecticism)

Main article: Polystylism

Some authors equate polystylism with eclecticism, while others make a sharp distinction.[14]

Post-modernism

Main article: Postmodern music

Minimalism and post-minimalism

Main articles:
Post-minimalism

Historicism

laude of Gavin Bryars
.

The historicist movement is closely related to the emergence of musicology and the early music revival. A number of historicist composers have been influenced by their intimate familiarity with the instrumental practices of earlier periods (Hendrik Bouman, Grant Colburn, Michael Talbot, Paulo Galvão, Roman Turovsky-Savchuk). The musical historicism movement has also been stimulated by the formation of such international organizations as the Delian Society and Vox Saeculorum.[16]

Art rock influence

Some composers have emerged since the 1980s who are influenced by art rock, for example, Rhys Chatham.[17]

New Simplicity

Main article: New Simplicity

New Complexity

New Complexity is a current within today's[when?] European contemporary avant-garde music scene, named in reaction to the New Simplicity. Amongst the candidates suggested for having coined the term are the composer Nigel Osborne, the Belgian musicologist Harry Halbreich, and the British/Australian musicologist Richard Toop, who gave currency to the concept of a movement with his article "Four Facets of the New Complexity".[18]

Though often

polyrhythms, unconventional instrumentations, abrupt changes in loudness and intensity, and so on.[19] The diverse group of composers writing in this style includes Richard Barrett, Brian Ferneyhough, Claus-Steffen Mahnkopf, James Dillon, Michael Finnissy, James Erber, and Roger Redgate
.

Developments by medium

Opera

Notable composers of operas since 1975 include:

Cinema and television

Notable composers of post-1945 classical film and television scores include:[22][23]

Contemporary classical music originally written for the concert hall can also be heard on the music track of some films, such as Stanley Kubrick's

2001: A Space Odyssey (1968) and Eyes Wide Shut (1999), both of which used concert music by György Ligeti, and also in Kubrick's The Shining (1980) which used music by both Ligeti and Krzysztof Penderecki.[25] Jean-Luc Godard, in La Chinoise (1967), Nicolas Roeg in Walkabout (1971), and the Brothers Quay in In Absentia (2000) used music by Karlheinz Stockhausen
.

Chamber

Some notable works for chamber orchestra:

Concert bands (wind ensembles)

In recent years, many composers have composed for concert bands (also called wind ensembles). Notable composers include:

Festivals

Main article: List of music festivals
See also: Category:Contemporary classical music festivals

The following is an incomplete list of contemporary-music festivals:

See also

Notes

  1. ^ Whittall 2001.
  2. ^ Schwartz & Godfrey 1993, ch. 7: "Order and Chaos", pp. 78ff.
  3. ^ Manning 2004, pp. 19ff.
  4. ^ Schwartz & Godfrey 1993, p. 325.
  5. ^ Schwartz & Godfrey 1993, pp. 289ff.
  6. ^ "Master of Music in Contemporary Classical Music Performance". Archived from the original on October 27, 2019. Retrieved October 11, 2018.
  7. ^ Bandur 2001, pp. 5, 10–11.
  8. ^ Straus 1999, pp. 303, 307–308, 310–11, 314–329.
  9. ^ Botstein 2001, §9.
  10. ^ a b Schwartz 1994, p. 199
  11. ^ Anderson 1992, 18.
  12. ^ Johnson 2001.
  13. ^ Holmes 2008, p. 272.
  14. OED
    , entry "Polystylistic", quoting Christian & Cornwall's Guide to Russian Literature (1998): "Zhdanov is eclectic; he mixes high poetic, archaic, scientific and everyday realities without imposing any hierarchy. His manner may be called ‘polystylistic’", and entry "Polystylist", quoting Musical America, November 1983: "An eclectic only passively collects material from different sources, but a polystylist puts together what he collects, consciously, in a new way."
  15. ^ Watkins 1994, pp. 440–442, 446–448.
  16. ^ Colburn 2007, pp. 36–45, 54–55.
  17. ^ Chatham 1994.
  18. ^ Toop 1988.
  19. ^ Fox, Christopher (January 20, 2001). "New Complexity". Grove Music Online.
  20. ^ Huss, Christopher (1 June 2023). ""L'homme qui rit": la poignante sincérité d'Airat Ichmouratov". www.ledevoir.com. Archived from the original on 1 June 2023. Retrieved 20 September 2023.
  21. ^ 장석용 (3 January 2024). "엄대호의 '영혼의 울림' 통한 예수의 수난과 죽음…탐욕에 빠진 인간에 대한 '구원의 음률'". g-enews.com. p. 14. Archived from the original on 3 January 2024. Retrieved 13 January 2024.
  22. ISBN 0-19-063626-2
  23. ISBN 978-1-138-36271-0
  24. ^ Tangcay, Jazz (May 25, 2021). "Oscar Winner Hans Zimmer Signs With CAA". Variety.com. Variety. Archived from the original on October 26, 2021. Retrieved October 26, 2021. Proves notability.
  25. ^ Platt, Russell (August 12, 2008). "Clarke, Kubrick, and Ligeti: A Tale". The New Yorker. Archived from the original on March 18, 2023. Retrieved March 18, 2023.

Sources

Further reading

External links

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