List of postmodernist composers

Lists of composers by philosophical stance: Postmodernist composers

Canada

John Oswald (born 1953)[1]

France

Pierre Boulez (1925–2016)[2]
René Leibowitz (1913–1972)[3]
Olivier Messiaen (1908–1992)[3]

Germany

Hans-Jürgen von Bose (born 1953)[4]
Hans-Christian von Dadelsen (born 1948)[4]
Heiner Goebbels (born 1952)[5]
Wilhelm Killmayer (1927–2017)[4]
Detlev Müller-Siemens (born 1957)[4]
Wolfgang Rihm (born 1952)[5]

Greece

Iannis Xenakis (1922–2001)[6]

Hungary

György Ligeti (1923–2006)[6]

Italy

Luciano Berio (1925–2003)[7]
Aldo Clementi (1925–2011)[8]
Luigi Nono (1924–1990)[9]

Poland

Henryk Górecki (1933–2010)[10]
Zygmunt Krauze (born 1938)[11]

United Kingdom

Thomas Adès (born 1971)[12]
Harrison Birtwistle (born 1934)[10]
Cornelius Cardew (1936–1981)[13]
Brian Eno (born 1948)[14]
Brian Ferneyhough (born 1943)[15]
John Tavener (1944–2013)[10]

United States

John Adams (born 1947)[16]
Robert Ashley (1930–2014)[17]
Samuel Barber (1910–1981)[18]
William Bolcom (born 1938)[19]
Henry Brant (1913–2008)[20]
Earle Brown (1926–2002)[13]
John Cage (1912–1992)[21]
Elliott Carter (1908–2012)[10]
John Corigliano (born 1938)[22]
Morton Feldman (1926–1987)[13]
Philip Glass (born 1937)[23]

gollark: I feel very insulted, HydroNitrogen.

gollark: ???

gollark: And potatOS.

gollark: The best part of ShutdownOS relying on Skynet is that if my server undergoes maintenence it'll break horribly! Yay!

gollark: Works fine.

Sources

Nicole V. Gagné, Historical Dictionary of Modern and Contemporary Classical Music, Historical Dictionaries of Literature and the Arts (Lanham, MD: Scarecrow Press, 2012): pp. 199–200. ISBN 0-8108-6765-6.
Christopher Butler, After the Wake: An Essay on the Contemporary Avant-Garde (Oxford: Clarendon Press; New York: Oxford University Press, 1980): p. 7; Nadia Mankowskaya, "L'esthétique musicale et le postmodernisme", New Sound: International Magazine for Music, no. 1 (1993): 91–100, citation on p. 91; Christian Ofenbauer, "Vom Faltenlegen: Versuch einer Lektüre von Pierre Boulez' Notation(s) I(1)", Musik-Konzepte, nos. 89–90 (1995): pp. 55–75 (passim); Nadežda Andreevna Petrusëva, "Новая форма в новейшей музыке" [The Formal Innovations of Postmodern Music], Muzyka i vremâ: Ežemesâčnyj naučnyj kritiko-publicističeskij žurnal, no. 8 (2003): 45–48, citation on p. 45.
Christopher Butler, After the Wake: An Essay on the Contemporary Avant-Garde (Oxford: Clarendon Press; New York: Oxford University Press, 1980): p. 7.
Beate Kutschke, "The Celebration of Beethoven’s Bicentennial in 1970: The Antiauthoritarian Movement and Its Impact on Radical Avant-garde and Postmodern Music in West Germany", The Musical Quarterly 93, nos. 3–4 (Fall–Winter 2010): 560–615, citation on p. 582.
David Beard and Kenneth Gloag, Musicology: The Key Concepts (New York: Routledge, 2005): p. 142. ISBN 978-0-415-31692-7.
Paula E. Geyh, "Postmodernism—Postmodernism in Literature and Art". Science Encyclopedia, jrank.org (Accessed 11 December 2015).
Steven Connor, "The Decomposing Voice of Postmodern Music". New Literary History 32, no. 3: Voice and Human Experience (Summer 2001): 467–83, citation on pp. 477–78; Jonathan Kramer, "The Nature and Origins of Musical Postmodernism", in Postmodern Music/Postmodern Thought, edited by Judy Lochhead and Joseph Aunder, 13–26 (New York: Routledge, 2002): p. 14. ISBN 0-8153-3820-1.
Geoffrey Morris, "The Guitar Works of Aldo Clementi", Contemporary Music Review 28, no. 6 (Aldo Clementi: Mirror of time I, 2009): pp. 559–86, citation on 559.
Christopher Butler, After the Wake: An Essay on the Contemporary Avant-Garde (Oxford: Clarendon Press; New York: Oxford University Press,1980): p. 7.
David Beard and Kenneth Gloag, Musicology: The Key Concepts (New York: Routledge, 2005): p. 143. ISBN 978-0-415-31692-7.
Jonathan Kramer, "The Nature and Origins of Musical Postmodernism", in Postmodern Music/Postmodern Thought, edited by Judy Lochhead and Joseph Aunder, pp. 13–26 (New York: Routledge, 2002): p. 13. ISBN 0-8153-3820-1.
Christopher Fox, "Tempestuous Times: The Recent Music of Thomas Adès", The Musical Times 145, No. 1888 (Autumn 2004): 41–56, citation on p. 53.
Georgina Born, Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde (Berkeley, Los Angeles, and London: University of California Press, 1995): p. 56).
Nicole V. Gagné, Historical Dictionary of Modern and Contemporary Classical Music, Historical Dictionaries of Literature and the Arts (Lanham, MD: Scarecrow Press, 2012): pp. 90–91. ISBN 0-8108-6765-6.
Robert Carl, "Six Case Studies in New American Music: A Postmodern Portrait Gallery", College Music Symposium 30, no. 1 (Spring 1990): pp. 45–63, citation on pp. 45–48.
Robert Carl, "Six Case Studies in New American Music: A Postmodern Portrait Gallery", College Music Symposium 30, no. 1 (Spring 1990): pp. 45–63, citations on pp. 45, 51–54; Jonathan Kramer, "The Nature and Origins of Musical Postmodernism", in Postmodern Music/Postmodern Thought, edited by Judy Lochhead and Joseph Aunder, 13–26 (New York: Routledge, 2002): p. 13. ISBN 0-8153-3820-1.
Nicole V. Gagné, Historical Dictionary of Modern and Contemporary Classical Music, Historical Dictionaries of Literature and the Arts (Lanham, MD: Scarecrow Press, 2012): pp. 12, 19. ISBN 0-8108-6765-6.
Freeman, John W. (1997). The Metropolitan Opera Stories of the Great Operas, Volume 2, p.15. ISBN 9780393040517.
Robert Carl, "Six Case Studies in New American Music: A Postmodern Portrait Gallery", College Music Symposium 30, no. 1 (Spring 1990): pp. 45–63, citation on pp. 45, 59–63.
Nicole V. Gagné, Historical Dictionary of Modern and Contemporary Classical Music, Historical Dictionaries of Literature and the Arts (Lanham, MD: Scarecrow Press, 2012): pp. 44–45, 208. ISBN 0-8108-6765-6.
Georgina Born, Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde (Berkeley, Los Angeles, and London: University of California Press, 1995): p. 56; Jann Pasler, "Postmodernism", Grove Music Online. Oxford Music Online (accessed 11 December 2015) (subscription required).
Jonathan Kramer, "The Nature and Origins of Musical Postmodernism", in Postmodern Music/Postmodern Thought, edited by Judy Lochhead and Joseph Aunder, 13–26 (New York: Routledge, 2002): p. 14. ISBN 0-8153-3820-1.
David Beard and Kenneth Gloag, Musicology: The Key Concepts (New York: Routledge, 2005): p. 144. ISBN 978-0-415-31692-7.

This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.

[1] Nicole V. Gagné, Historical Dictionary of Modern and Contemporary Classical Music, Historical Dictionaries of Literature and the Arts (Lanham, MD: Scarecrow Press, 2012): pp. 199–200. ISBN 0-8108-6765-6.

[2] Christopher Butler, After the Wake: An Essay on the Contemporary Avant-Garde (Oxford: Clarendon Press; New York: Oxford University Press, 1980): p. 7; Nadia Mankowskaya, "L'esthétique musicale et le postmodernisme", New Sound: International Magazine for Music, no. 1 (1993): 91–100, citation on p. 91; Christian Ofenbauer, "Vom Faltenlegen: Versuch einer Lektüre von Pierre Boulez' Notation(s) I(1)", Musik-Konzepte, nos. 89–90 (1995): pp. 55–75 (passim); Nadežda Andreevna Petrusëva, "Новая форма в новейшей музыке" [The Formal Innovations of Postmodern Music], Muzyka i vremâ: Ežemesâčnyj naučnyj kritiko-publicističeskij žurnal, no. 8 (2003): 45–48, citation on p. 45.

[Butler7-3] Christopher Butler, After the Wake: An Essay on the Contemporary Avant-Garde (Oxford: Clarendon Press; New York: Oxford University Press, 1980): p. 7.

[Kutschke582-4] Beate Kutschke, "The Celebration of Beethoven’s Bicentennial in 1970: The Antiauthoritarian Movement and Its Impact on Radical Avant-garde and Postmodern Music in West Germany", The Musical Quarterly 93, nos. 3–4 (Fall–Winter 2010): 560–615, citation on p. 582.

[Beard&Gloag142-5] David Beard and Kenneth Gloag, Musicology: The Key Concepts (New York: Routledge, 2005): p. 142. ISBN 978-0-415-31692-7.

[Geyh-6] Paula E. Geyh, "Postmodernism—Postmodernism in Literature and Art". Science Encyclopedia, jrank.org (Accessed 11 December 2015).

[7] Steven Connor, "The Decomposing Voice of Postmodern Music". New Literary History 32, no. 3: Voice and Human Experience (Summer 2001): 467–83, citation on pp. 477–78; Jonathan Kramer, "The Nature and Origins of Musical Postmodernism", in Postmodern Music/Postmodern Thought, edited by Judy Lochhead and Joseph Aunder, 13–26 (New York: Routledge, 2002): p. 14. ISBN 0-8153-3820-1.

[8] Geoffrey Morris, "The Guitar Works of Aldo Clementi", Contemporary Music Review 28, no. 6 (Aldo Clementi: Mirror of time I, 2009): pp. 559–86, citation on 559.

[9] Christopher Butler, After the Wake: An Essay on the Contemporary Avant-Garde (Oxford: Clarendon Press; New York: Oxford University Press,1980): p. 7.

[Beard&Gloag143-10] David Beard and Kenneth Gloag, Musicology: The Key Concepts (New York: Routledge, 2005): p. 143. ISBN 978-0-415-31692-7.

[11] Jonathan Kramer, "The Nature and Origins of Musical Postmodernism", in Postmodern Music/Postmodern Thought, edited by Judy Lochhead and Joseph Aunder, pp. 13–26 (New York: Routledge, 2002): p. 13. ISBN 0-8153-3820-1.

[12] Christopher Fox, "Tempestuous Times: The Recent Music of Thomas Adès", The Musical Times 145, No. 1888 (Autumn 2004): 41–56, citation on p. 53.

[Born56-13] Georgina Born, Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde (Berkeley, Los Angeles, and London: University of California Press, 1995): p. 56).

[14] Nicole V. Gagné, Historical Dictionary of Modern and Contemporary Classical Music, Historical Dictionaries of Literature and the Arts (Lanham, MD: Scarecrow Press, 2012): pp. 90–91. ISBN 0-8108-6765-6.

[15] Robert Carl, "Six Case Studies in New American Music: A Postmodern Portrait Gallery", College Music Symposium 30, no. 1 (Spring 1990): pp. 45–63, citation on pp. 45–48.

[16] Robert Carl, "Six Case Studies in New American Music: A Postmodern Portrait Gallery", College Music Symposium 30, no. 1 (Spring 1990): pp. 45–63, citations on pp. 45, 51–54; Jonathan Kramer, "The Nature and Origins of Musical Postmodernism", in Postmodern Music/Postmodern Thought, edited by Judy Lochhead and Joseph Aunder, 13–26 (New York: Routledge, 2002): p. 13. ISBN 0-8153-3820-1.

[17] Nicole V. Gagné, Historical Dictionary of Modern and Contemporary Classical Music, Historical Dictionaries of Literature and the Arts (Lanham, MD: Scarecrow Press, 2012): pp. 12, 19. ISBN 0-8108-6765-6.

[18] Freeman, John W. (1997). The Metropolitan Opera Stories of the Great Operas, Volume 2, p.15. ISBN 9780393040517.

[19] Robert Carl, "Six Case Studies in New American Music: A Postmodern Portrait Gallery", College Music Symposium 30, no. 1 (Spring 1990): pp. 45–63, citation on pp. 45, 59–63.

[20] Nicole V. Gagné, Historical Dictionary of Modern and Contemporary Classical Music, Historical Dictionaries of Literature and the Arts (Lanham, MD: Scarecrow Press, 2012): pp. 44–45, 208. ISBN 0-8108-6765-6.

[21] Georgina Born, Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde (Berkeley, Los Angeles, and London: University of California Press, 1995): p. 56; Jann Pasler, "Postmodernism", Grove Music Online. Oxford Music Online (accessed 11 December 2015) (subscription required).

[22] Jonathan Kramer, "The Nature and Origins of Musical Postmodernism", in Postmodern Music/Postmodern Thought, edited by Judy Lochhead and Joseph Aunder, 13–26 (New York: Routledge, 2002): p. 14. ISBN 0-8153-3820-1.

[Beard&Gloag144-23] David Beard and Kenneth Gloag, Musicology: The Key Concepts (New York: Routledge, 2005): p. 144. ISBN 978-0-415-31692-7.