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What is the difference between modernism and neoclassicism
Igor stravinsky history
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Igor Stravinsky makes for a first-class example of differences and similarities between neoclassicism and modernism. Modernism is defined as “A term used in music to denote a multi-faceted but distinct and continuous tradition within 20th-century composition”1, while neoclassicism may be defined as “A movement of style in the works of certain 20th-century composers, who, particularly during the period between the two world wars, revived the balanced forms and clearly perceptible thematic processes of earlier styles to replace what were, to them, the increasingly exaggerated gestures and formlessness of late Romanticism”2 By not only comparing his works to others but within his own body of work the two movements can be better distinguished. Stravinsky composed in both styles throughout his musical career making his works not only a prime example but a map for the transition between periods/movements, thus giving distinctness to the movements. Stravinsky “cultivated a flexible and reciprocal association with his changing environment. While consistently producing work which transformed the sensibilities of those who heard it, he himself continuously allowed his own sensibilities to be fed, even transformed, by the music and music-making of others.”3 By comparing and contrasting the works of Stravinsky with not only his own works, but with his contemporary's of the early 20th century, the division and resemblances between neoclassicism and modernism can be thoroughly observed.
By examining a piece like The Rite Of Spring, modernist techniques and styles can be observed, Stravinsky created “an extra rhythmic tier, somewhat like the stresses superimposed on the regular patterns of The Rite.” 4 Stravinsky pushed the envelope of rhy...
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...arities, yet defining differences between the styles.
Works Cited
Botstein, Leo. "Modernism." Grove Music Online. Oxford UP. Web. 10 Nov. 2011.
Griffiths, Paul. "Stravinsky, Igor (Fyodorovich)." Grove Music Online. Oxford UP. Web. 10 Nov. 2011.
Haskell, Harry. The Early Music Revival: a History. Mineola, NY: Dover Publications, 1996. Google Books. Web. 10 Nov. 2011.
Lee, Douglas A. Masterworks of 20th-century Music: the Modern Repertory of the Symphony Orchestra. New York: Routledge, 2002. Google Books. Web. 10 Nov. 2011.
Walsh, Stephen. "Stravinsky, Igor, §11: Posthumous Reputation and Legacy." Grove Music Online. Oxford UP. Web. 10 Nov. 2011.
Walsh, Stephen. "Stravinsky, Igor, §4: Exile in Switzerland, 1914–20." Grove Music Online. Oxford UP. Web. 10 Nov. 2011.
Whitthall, Arnold. "Neo-Classicism." Grove Music Online. Oxford UP. Web. 10 Nov. 2011
Stolba, M. K. (1998) The Development of Western Music, A History, Third Edition. Boston, MA: McGraw Hill
A. 20th Century Repertoire. Lipscomb University, 2007 -. Web. The Web. The Web. 8 Apr. 2016.
Howard, John Tasker, and George Kent Bellows. A Short History of Music in America. New York: Thomas Y. Crowell Company, 1957. 342-3. Print.
In their books: Copland: 1900 through 1942 and Copland: Since 1943, Aaron Copland and Vivian Perlis give a detailed account of the life of one of America’s most influential composers. The books are arranged similarly to the Shostakovich biography that our class reviewed earlier this semester. That is, through personal accounts by Copland himself along with accounts of Copland’s friends and acquaintances, the authors manage to paint an accurate and interesting picture detailing the life of the great composer. When combined, the two books recount Copland’s entire life, dividing it into two periods for the purpose of easier organization and reading.
Schwartz, Boris. Music and Musical Life in Soviet Russia, 1917-1981. 2nd edition. Indiana University Press, 1983.
In the passage by Igor Stravinsky, he uses not only comparison and contrast, but also language to convey his point of view about the conductors of the time and their extreme egotism. Stravinsky believes that conductors exploit the music for their own personal gain, so rather, he looks on them in a negative light.
Willoughby, David. "Chapter 11." The World of Music. 7th ed. New York: McGraw-Hill, 2012. 249-53. Print.
Taruskin, R., & Taruskin, R. (2010). Music in the seventeenth and eighteenth centuries. Oxford: Oxford University Press.
The siege of Leningrad in 1941 to 1944 was one of the most significant events for the city now called St. Petersburg. It had such an impact on composer Dmitri Shostakovich that he created the “Leningrad” symphony, his seventh symphony. My essay will analyse the reflections of war in the music and explain them in their historical context.
- Norris, Jeremy Paul. The development of the Russian piano concerto in the nineteenth century. Indiana: Indiana University Press, 1988. Print.
When one considers the history of classical music, often images of Vienna, Prague, and other European cities come to mind. Centuries of European musical achievement and development have implanted in society the idea that classical music is an inherently European creation. Considering the accomplishments of countless composers such as J.S. Bach, Ludwig van Beethoven, and Antonin Dvorak, this preconception is certainly not unfounded. However, Leonard Bernstein's rise to international fame proved that one cannot neglect American composers in a discussion of the development of Western music. Combining elements of a vast array of musical styles, Bernstein's unique compositions reached a wide variety of audiences and often bridged gaps between distinct musical genres. Through his long conducting career, profoundly influential compositional output, and televised music lectures, Leonard Bernstein left a lasting legacy which came to define American music in the 20th century.
Burkholder, J. Peter, Donald Jay Grout, and Claude V. Palisca. A history of western music. 8th ed. New York: W. W. Norton, 2010. Print.
On the fiftieth anniversary of Strauss’ death in 1999, new research discussing his Lieder appeared. Suzanne Lodato’s dissertation entitled, “Richard Strauss and the Modernists: A Contextual Study of Strauss’s Fin-de-siècle Song Style” examines poets and their writings during the late nineteenth century and the effects they had upon Strauss’s Lieder writing between 1894-1906, an era of time referred to as his middle-Lieder compositional period (Jefferson, 29). The Richard Strauss Companion, edited by Mark-Daniel Schmid, appeared a few It’s a compilation of essays on topics ranging from Strauss influences to his instrumental and vocal works. One particular essay entitled “The Lieder of Richard Strauss” by Christine Getz discusses his entire canon, giving insight to his text choices, the significance of keys used, text painting, form, and orchestration.
Taylor, Jake. “Igor Stravinsky – Le Sacre du Printemps.” SputnikMusic. 10 August 2008. Web. 17
Stravinsky’s first major success, which established his mastery of music in the romantic era, was his premiere of The Firebird in 1910 (“Igor Stravinsky Russian Composer,” n.d.). He is accredited with being a major influence on contemporary