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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
Zaslaw, Neal. Mozart’s Symphonies: Context, Performance Practice, Recteption. United States: Oxford University Press. 1989, 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.
It was a freezing January day in the city of Archangelsk, Russia. A man by the name of Dmitri Shostakovich picked up the newest issue of Pravda from the newsstands, which were unusually busy today. “Wow, this is really harsh!” “Are Pravda’s expectations THAT high?” people whispered to one another. After reading it briefly, Shostakovich flew into a fit of frustration and rage. This paper called his music “degenerate and decadent” (Stevens)! There is no way that Pravda would trash his music as badly as this. In fact, the article was written under orders by an upset Josef Stalin. These two Russian titans impacted Russia’s culture between 1930 and 1950. They absolutely hated each other! The tension between the two radiated throughout Shostakovich’s music and Stalin’s iron-fisted attitude towards his symphonies. Stalin manipulated composers to the point of suicide for defying his wishes, and he was not afraid to do that to Shostakovich. Somehow, Shostakovich dared to resist Stalin’s evil ways and went on to become a “brilliant and internationally famous composer.
Schwartz, Boris. Music and Musical Life in Soviet Russia, 1917-1981. 2nd edition. Indiana University Press, 1983.
Rothstein, Edward. "What Shostakovich Was Really Expressing." The New York Times 6 May 2011: n. pag. Print.
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.
- Norris, Jeremy Paul. The development of the Russian piano concerto in the nineteenth century. Indiana: Indiana University Press, 1988. Print.
Kamien, Roger. "Part VI: The Romantic Period." Music: An Appreciation. 10th ed. Boston: McGraw-Hill Higher Education, 2008. 257-350. Print.
Burkholder, J. Peter, Donald Jay Grout, and Claude V. Palisca. A history of western music. 8th ed. New York: W. W. Norton, 2010. Print.
Gutmann, Peter. “Igor Stravinsky – The Rite of Spring.” Classical Notes. 2002. Web. 17 September 2011.
This is the second volume of Richard Taruskin's historical work, and it highlights composers of the seventeenth and eighteenth centuries. He examines the progression of different styles and eras of music.
Arnold, Denis, ed. The New Oxford Companion to Music. Vol. 2. Oxford: Oxford UP, 1983.
Heritage of Music: Volume II The Romantic Era (Heritage of Music). New York: Oxford UP, USA, 1992. Print.
As a youth he reluctantly studied law, as much bore by it as Schumann had been, and even became a petty clerk in the Ministry of Justice. But in his early twenties he rebelled, and against his family's wishes had the courage to throw himself into the study of music at the St. Petersburg Conservatory. He was a ready improviser, playing well for dancing and had a naturally rich sense of harmony, but was so little schooled as to be astonished when a cousin told him it was possible to modulate form any key to another. He went frequently to the Italian operas which at that time almost monopolized the Russian stage, and laid t...