Darmstadt as Other: British and American Responses to Musical Modernism

  title={Darmstadt as Other: British and American Responses to Musical Modernism},
  author={Bjorn Heile},
  journal={Twentieth-Century Music},
  pages={161 - 178}
  • B. Heile
  • Published 2004
  • Art
  • Twentieth-Century Music
There is currently a backlash against modernism in English-language music studies. While this vogue of ‘modernism bashing’ is ostensibly based on progressive ideologies, it is dependent on a one-sided perception of musical modernism which it shares with earlier conservative disparagements. Of central importance in this respect is the ‘othering’ of musical modernism as an essentially continental European phenomenon in the ‘Anglosphere’, where it is consistently suspected of being a ‘foreign… Expand
The Composer as ‘Good European’: Musical Modernism, Amor fati and the Cosmopolitanism of Frederick Delius
Abstract This article argues that early twentieth-century debates about both musical modernism and the idea of Europe were conditioned by prevailing attitudes towards autonomy. It will challenge theExpand
‘Britten Minor’: Constructing the Modernist Canon
Abstract In the last few decades, established narratives of twentieth-century music – with Schoenberg and his disciples at the centre and others on the periphery – have come under considerable fire:Expand
A Revisionist History of Twelve-Tone Serialism in American Music
Abstract The history of twelve-tone serial music in the United States extends from the late 1920s to the present day. Practitioners of a distinctively American brand of twelve-tone music haveExpand
British Experimental Music After Nyman, in
In the last twenty years or so, the features that constitute an understanding of “experimental music” have been shifted from those delineated by Michael Nyman in Experimental Music: Cage and BeyondExpand
Redefining coherence : interaction and experience in new music, 1985-1995
This thesis presents an analytical exploration of a number of works from 1985 to 1995, many of which have not previously received detailed attention. Although they stem from quite varied stylisticExpand
An Apprenticeship and Its Stocktakings: Leibowitz, Boulez, Messiaen, and the Discourse and Practice of New Music
Abstract The textbook historical account of post-war New Music describes a logical and radical succession from Schoenberg to Webern to the Darmstadt School. Against this narrative of inevitability, IExpand
Musicology and Decolonial Analysis in the Age of Brexit
Abstract Where postcolonial studies often retain a focus on the imperial metropole, decolonial analysis takes as an imperative the re-location of the critical nexus into former colonies. Yet withExpand
Harrison Birtwistle's Operas and Music Theatre
David Beard presents the first definitive survey of Harrison Birtwistle's music for the opera house and theatre, from his smaller-scale works, such as Down by the Greenwood Side and Bow Down, to theExpand
Balance Problems: Neoliberalism and New Music in the American University and Ensemble
Between 2013 and 2015, the ensemble yMusic collaborated with graduate student composers in a residency at Duke University. This article positions the residency as a result of the transformation ofExpand
British Musical Modernism: The Manchester Group and their Contemporaries
Introduction 1. Between nationalism and the avant garde: defining British modernism 2. Post-war motifs 3. Manchester avant-garde: Goehr, Davies and Birtwistle to 1960 4. A Manchester generation inExpand


Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde
Anthropologist Georgina Born presents one of the first ethnographies of a powerful western cultural organization, the renowned Institut de Recherche et de Coordination Acoustique/Musique (IRCAM) inExpand
Transethnicism and the American Experimental Tradition
We live in multicultural times. Whether we are listening to the Kronos Quartet or reviewing the activities of the Institute for Studies in American Music, it is clear that what used to be cozilyExpand
New music and the claims of modernity
Contents: Introductions Part One Modernity: Critical Theory and Aesthetic Modernity: Modernity Dialectic of Enlightenment and the Culture Industry Truth as Negation: Negative Dialectics and AestheticExpand
Western music and its others : difference, representation, and appropriation in music
INTRODUCTION: On Difference, Representation, and Appropriation in Music I. Postcolonial Analysis and Music Studies (David Hesmondhalgh and Georgina Born) II. Musical Modernism, Postmodernism, andExpand
Musical Meaning: Toward a Critical History
Contents List of Illustrations Acknowledgments Introduction: Sounding Out: Musical Meaning and Modern Experience 1. Hermeneutics and Musical History: A Primer without Rules, an Exercise with SchubertExpand
Negotiating Cultural Allies: American Music in Darmstadt, 1946-1956
In the context of postwar and Cold War cultural politics, the Darmstadter Ferienkurse fur Neue Musik set the stage for Germany9s ambivalent reception of American music in the decades following WorldExpand
'Transcending Quotation': Cross-cultural Musical Representation in Mauricio Kagel's Die Stücke der Windrose für Salonorchester
Although this article is about a work that is also covered in my monograph, the focus here is on theoretical and methodological issues, namely the analysis and criticism of cross-cultural musicalExpand
Getting rid of the glue: the music of the New York school
The term New York School is usually applied to a number of American visual artists working in and around Manhattan from the early 1940s through to the late 1950s. The group included abstractExpand
Serial Music, Serial Aesthetics: Compositional Theory in Post-War Europe
Acknowledgements Note on the text Introduction Part I: 1. European culture in the post-war years 2. The isolated tone: electronic and serial music, 1945-1954 Part II: 3. Electronic music - 'chaos orExpand
Carlisle Floyd's ‘Wuthering Heights’
Carlisle Floyd's Wuthering Heights is not only a deeply moving and dramatically convincing treatment of a mercilessly demanding subject—it is a real opera, in the sense that we have always understoodExpand