The Concept of Post Modernism

THE CONCEPT OF POST-MODERNISM
The Concept of Post-Modernism

Eric Tan Boon Kiat
Universiti Malaya
REA130012
19th May 2014

Abstract
This essay is about the concept or idea post-modernism or post-modern styles and examples of
composers who practices post-modern styles. This essay also describes a brief summary of the
early and late twentieth century.
The Concept of Post-Modernism

The first half of the twentieth century experienced a progressive breakup of the tonal
harmonic system that had triumphed for the preceding two hundred years. Schoenberg, at first
instinctively and later methodically with his twelve tone method, introduced a radically new
conception of musical form and, with his emancipation of the dissonance, in effect ended the
traditional difference between consonance and dissonance. As the century moved on,
Schoenbergs method was used to all elements of musical composition before combined with
other, freer methods of composition. Traditional concepts about musical sound and even about
the art of composition itself were also transformed in the twentieth century. For example, there
were introduction of new timbres and musical instruments, expansion of the pitch continuum and
experimentation with spatial effects, usage of various electronic media and technologies, and the
idea of indeterminacy in musical compositions. In consequence, different and unique modes of
interaction adjusted the customary roles of composer and performer. Affected by their own
cultural, political, and geographic realities, European composers have adapted musical styles that
are distinct and separate from those of their American counterparts. Yet, by the late twentieth
century, some Europeans had integrated into new styles and trends. One of those trends is postmodern styles or post-modernism.
A number of architects, such as Robert Venturi, Philip Johnson, and Cesar Pelli, turned
away from the faceless glass facades of the middle twentieth century by putting together
elements of earlier styles into modern designs. This combination is known as post-modern.i
The main aspect of post-modernism is a turning away from the belief, crucial to
modernist thought, that history progresses irreversibly in one direction. Musically, this concept
means leaving the notion that musical idioms develop continuously, as if according to a plan or
some inner need. The theory of post-modernism is that history gives the performer or composer
more freedom than that; the styles of all epochs and cultures are equally accessible as a material,
to be used as the composer sees fit.
A composer who quoted from and used past styles with optimum capacity was Alfred
Schnittke(1934-1998). He worked in Soviet Union, where was known mainly for his film music,
before moving to Germany in 1990. When the Soviet Government began to relax its control over
culture, Shnittke and other young composers were exposed to Western trends such as serials,
chance, and electronic music. After composing several pieces based on serialism, indeterminacy,
and new instrumental sounds, Schnittke used the method called polystylism, which is a mixture
of new and older styles composed through quotation or stylistic allusion. Schnittkes Symphony
No.1 consists of passages from works by Haydn, Beethoven, Chopin, Tchaikovsky, Grieg,
Johann Strauss, and Schnittke himself. His music displays a contrast not only of styles but of
historical periods.ii
Besides Schnittke, George Rochberg (b. 1918), who had once relied on serial methods,
built a quilt from the works of Mozart, Beethoven, Mahler, Webern, Varese, Stockhausen, and
past composed works of his own in Music for a Magic Theater( 1965). In addition, he
cultivated the style of a Baroque toccata and quoted short passages from J.S. Bachs Partita No.
6 for keyboard. Like Bach, Rochberg starts off with an arpeggios followed by a typical double-
dotted effect and a descending appoggiatura. But Bachs arpeggios contain only the notes of the
E-minor triad whereas Rochbergs contains all twelve notes of the chromatic scale. Equivalently,
that arpeggio that resolves the appoggiatura includes all of the notes of Bachs chord but in
adding in Bb, Eb, and B. iii
One of the most astounding re-creations of an earlier musical world is David Del Tredicis In
Memory of a Summer Day (Child Alice, Part One, 1980). Del Tredici (b. 1937) translated
Wagners Liebestod into modern-but not so modern-terms without taking any of Wagners
motives, just his manner of developing them, his harmony, and his superb orchestration. The
similarity of the theme to the kiss motive in Verdis Otello may be accidental. The purpose
of the backward look seems in this case to be communication instead of parody or irony. iv
In my personal opinion, post-modern styles are actually acceptable and are worthy to be
adapted. I sincerely believe that music is free and composers are allowed to use any material
from the past or with present technologies. I personally feel that composers ought to be more
creative and to think out of the box especially in our time.
i Barbara Russano Hanning. (2002). Concise History of Western Music. (Second
Edition). pp 539, 575.

ii J. Peter Burkholder, Donald Jay Grout, Claude V. Palisca. (2006). A History of
Western Music. (Seventh Edition). pp 958-959.

iii Donald Jay Grout, Claude V. Palisca. (2001). A History of Western Music. (Sixth
Edition). pp 782.
iv
Barbara Russano Hanning. (1998). Concise History of Western Music. pp. 550.
THE CONCEPT OF POST MODERNISM

Bibliography
Barbara Russano Hanning. (2002). Concise History of Western Music. (Second

Edition).
New York, London. W.W. Norton & Company.
J. Peter Burkholder, Donald Jay Grout, Claude V. Palisca. (2006). A History of
Western Music.
(Seventh Edition).

Donald Jay Grout, Claude V. Palisca. (2001). A History of Western Music. (Sixth
Edition)
Barbara Russano Hanning. (1998). Concise History of Western Music.

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THE CONCEPT OF POST-MODERNISM