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Kramer was one of the most visionary musical thinkers of the second half of the 20th century. In his The Time of Music, he approached the idea of the many different ways that time itself is articulated musically. This book has become influential among composers, theorists, and aestheticians. Now, in his almost completed text written before his untimely death in 2004, he examines the concept of postmodernism in music. Kramer created a series of markers by which we can identify postmodern works. He suggests that the postmodern project actually creates a radically different relationship between the composer and listener. Written with wit, precision, and at times playfully subverting traditional tropes to make a very serious point about this difference, Postmodern Music, Postmodern Listening leads us to a strongly grounded intellectual basis for stylistic description and an intuitive sensibility of what postmodernism in music entails. Postmodern Music, Postmodern Listening is an examination of how musical postmodernism is not just a style or movement, but a fundamental shift in the relationship between composer and listener. The result is a multifaceted and provocative look at a critical turning point in music history, one whose implications we are only just beginning to understand.
Kramer was one of the most visionary musical thinkers of the second half of the 20th century. In his The Time of Music, he approached the idea of the many different ways that time itself is articulated musically. This book has become influential among composers, theorists, and aestheticians. Now, in his almost completed text written before his untimely death in 2004, he examines the concept of postmodernism in music. Kramer created a series of markers by which we can identify postmodern works. He suggests that the postmodern project actually creates a radically different relationship between the composer and listener. Written with wit, precision, and at times playfully subverting traditional tropes to make a very serious point about this difference, Postmodern Music, Postmodern Listening leads us to a strongly grounded intellectual basis for stylistic description and an intuitive sensibility of what postmodernism in music entails. Postmodern Music, Postmodern Listening is an examination of how musical postmodernism is not just a style or movement, but a fundamental shift in the relationship between composer and listener. The result is a multifaceted and provocative look at a critical turning point in music history, one whose implications we are only just beginning to understand.
What is postmodern music and how does it differ from earlier styles, including modernist music? What roles have electronic technologies and sound production played in defining postmodern music? Has postmodern music blurred the lines between high and popular music? Addressing these and other questions, this ground-breaking collection gathers together for the first time essays on postmodernism and music written primarily by musicologists, covering a wide range of musical styles including concert music, jazz, film music, and popular music. Topics include: the importance of technology and marketing in postmodern music; the appropriation and reworking of Western music by non-Western bands; postmodern characteristics in the music of Górecki, Rochberg, Zorn, and Bolcom, as well as Björk and Wu Tang Clan; issues of music and race in such films as The Bridges of Madison County, Batman, Bullworth, and He Got Game; and comparisons of postmodern architecture to postmodern music. Also includes 20 musical examples.
Rose Subotnik criticized 'structural listening' as an attempt to situate musical meaning solely within the unfolding of the musical structure itself. The authors of this volume take up her challenge, writing on repertoires ranging from Beethoven to MTV.
As a year-long participant-observer, Born studied the social and cultural economy of an institution for research and production of avant-garde and computer music. She gives a unique portrait of IRCAM's composers, computer scientists, technicians, and secretaries, interrogating the effects of the cultural philosophy of the controversial avant-garde composer, Pierre Boulez, who directed the institute until 1992.
A leading cultural theorist and musicologist opens up new possibilities for understanding mainstream Western art music—the "classical" music composed between the eighteenth and early twentieth centuries that is, for many, losing both its prestige and its appeal. When this music is regarded esoterically, removed from real-world interests, it increasingly sounds more evasive than transcendent. Now Lawrence Kramer shows how classical music can take on new meaning and new life when approached from postmodernist standpoints. Kramer draws out the musical implications of contemporary efforts to understand reason, language, and subjectivity in relation to concrete human activities rather than to universal principles. Extending the rethinking of musical expression begun in his earlier Music as Cultural Practice, he regards music not only as an object that invites aesthetic reception but also as an activity that vitally shapes the personal, social, and cultural identities of its listeners. In language accessible to nonspecialists but informative to specialists, Kramer provides an original account of the postmodernist ethos, explains its relationship to music, and explores that relationship in a series of case studies ranging from Haydn and Mendelssohn to Ives and Ravel. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1996. A leading cultural theorist and musicologist opens up new possibilities for understanding mainstream Western art music—the "classical" music composed between the eighteenth and early twentieth centuries that is, for many, losing both its prestige and its
What is postmodernism? How does it relate to music? This introduction clarifies the concept, providing ways of interpreting postmodern music.
From the creator of the sensation Postmodern Jukebox -- with millions of fans globally -- comes an inspirational memoir about discovering what you love and turning it into a creative movement. With student loan debt piling up and no lucrative gigs around the corner, Scott Bradlee found himself in a situation all too familiar to struggling musicians and creative professionals, unsure whether he should use the little income he had to pay his rent or to avoid defaulting on his loans. It was under these desperate circumstances that Bradlee began experimenting, applying his passion for jazz, ragtime, and doo wop styles to contemporary hits by singers like Macklemore and Miley Cyrus--and suddenly an idea was born. Today, Postmodern Jukebox -- the rotating supergroup devoted to period covers of pop songs, which Bradlee created in a basement apartment in Queens, New York--is a bona fide global sensation, having collected more than three million subscribers on YouTube while selling out major venues around the world and developing previously unknown talent into superstar singers. From its Etta James-inspired rendition of Radiohead's "Creep" to its New Orleans jazz interpretation of Meghan Trainor's "All About That Bass," the group has established a sound like no other, crafting hits as exquisitely sublime as they are humorously absurd. But it wasn't always as easy as the YouTube videos make it look. As he worked to establish Postmodern Jukebox, Bradlee struggled through the obstacles that every self-employed artist or entrepreneur with a vision faces: how to collaborate successfully on teams with divergent visions, how to outrun the naysayers, how to chase the next innovation when your reputation makes others start to pigeonhole you, and so many of the other challenges lining the path to success. Taking readers through the false starts, hilarious backstage antics, and unexpected breakthroughs of Bradlee's journey from a lost musician to a musical kingmaker -- and presenting all the entrepreneurial insights he learned along the way -- Outside the Jukebox is an inspiring memoir about how one musician found his rhythm and launched a movement that would forever change our relationships to our favorite songs.
Now in paperback, Fredric Jameson’s most wide-ranging work seeks to crystalize a definition of ”postmodernism”. Jameson’s inquiry looks at the postmodern across a wide landscape, from “high” art to “low” from market ideology to architecture, from painting to “punk” film, from video art to literature.