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Summary Ph.D.

Postmodernism is a phrase or concept that many people do not recognize as

anything other than yet another attempt to pigeon-hole an aesthetic that really does not exist.

When one considers the development of musical “technology” throughout the entire common

practice period (that is from roughly 1650 to 1900) one notes the gradual increase in the

complexity of the means of execution.

There are periods of defining clarity sitting side by side with periods of instability. I

would suggest that our most important literature emerged from those unstable periods, and from

those “unstable” composers. If, for example, W A Mozart could be said to represent thene plus

ultra of stylistic and aesthetic stability, his direct contemporary-Joseph Haydn represents his

diametrical opposite. Beneath the apparent conventionality of Hadyn’s external façade a roiling

spirit of adventure and exploration exists in just about every note the man wrote his diametrical

opposite.

Indeed, J.Haydn gave birth, so to say, to L.van Beethoven who, despite certain

undeniable Mozartian aspects, is the archetypal renegade if ever there was one. That some of

Mozart’s later work seemed to suggest elements that would become commonplace in the early

XIXth century is noted without comment (c.f. Franz Schubert). Beethoven’s successors, for

example Berlioz, Liszt, Raff, Bruckner, Mahler and Wagner amongst them, all pushed the

envelope of technical and aesthetic means forward. But they all remained squarely within the

common practice of the romantic XIXth century no matter how far afield of their Mozart-Haydn

roots they went.

In other words, there is a calculated continuity to their work, one which could not

necessarily be seen or perceived as such in their own times, but one which we, more than a

century removed from them and their times, can easily perceive. We simply cannot experience

any of this music as it was experienced at the time of its composition – and so our reactions to all

of it are, both paradoxically and by default, inauthentic!



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In addition to the more “advanced” means as espoused by the above mentioned

composers (and the selection here is by no means exhaustive) one must also take into account the

gradual dissolution of the predominant German influence on European music during the 19th

century. The emergence of the nationalist aesthetic produced radical technical changes in the

music of those composers so enthralled by their own national sources. One need think only of the

Russians (Borodin, Mussorgsky, Rimsky-Korsakov and Tchaikovsky [who was, in any case, a

ʺfriendʺ of Raff ]), or the French (Massenet, Debussy, Saint-Saens, et al.), the Italians (Bellini,

Donizetti, Verdi), the Bohemians (Dvorak, Smetana), et alie, so see how the splintering of

aesthetics produced music of a generally common base technology heavily flavored and

corrupted, as it were, by “non western” (that is, non-German) elements.

As we now know, what was perceived,in its time, as a diverse group of composers all

heading in different directions was, from the perspective of history, a much more homogenous

group than was heretofore acknowledged. Nationalism aside, and even progressivism aside, we

have a literature that is bound together by its common technology.

The essential point here is that the technology grew to encompass a far wider range of

possibilities than had heretofore been “permitted” or even possible – if a reading of the written

criticism of the period is any indication of the inability of lay audiences and professional

musicians and would-be critics to understand! And, as is well known, the comprehension factor

became an exponentially more difficult issue as the XXth century came into its own, especially

after Word War I.

With the dissolution of the common practice during the later years of the XIXth

century and into the XXth century, the loss of the constraints posed by the tonal system (to use a

very tired and inadequate term) essentially freed composers from its those constraints. If the rate

of concomitant technological expansion in the XXth century were to be compared to the three

hundred fifty years preceding it one could easily make the case that prior to 1900, musicaltechnology crept along at a snail’s pace. The explosion of technology in the XXth century made

the process of becoming a composer infinitely more difficult if only as a function of the vastly

greater amount of technology one had to learn in order to function as such.



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By the early 1970s, we had already been exposed to most all the new “isms” of music

(serialism, pointillism, neoclassicism, neoromanticism, late-nationalism, socialism, formalism,

etc.). All that remained for the XXth century was the advent of internationalism, aleatorism and,

ultimately, minimalism. In those days, the composition faculty consisted the following

composers: Bernard Wagenaar, Vittorio Giannini, Hugo Weisgall, Vincent Persichetti, Elliott

Carter, Luciano Berio, David Diamond, Peter Mennin, and Milton Babbitt.

One might also include Karlheinz Stockhausen, Richard Rodney Bennett and Hans

Werner Henze, too, as they were either frequent guests or composers featured in major

concert/opera events at the school. With one exception, maestro Vincent Persichetti, all of these

composers represented very fixed and narrow aesthetic points of origin. Collectively they

represent the full spectrum of aesthetic inclination and method prevalent at that time. In

general,it is interesting to me that by the end of the 1970s, with few exceptions, this entire

aesthetic had collapsed in on itself first by aleatorism, then to internationalism, and finally to

minimalism.

During the 1970s, in the wake of the Vietnam war, together with the strong

ascendency of leftist politics and culture in the US, the whole notion of a specifically American

aesthetic was lost to the generation of composers that emerged later in the century. As the

recognition of national definitions seemed to evaporate, so did the knowledge and understanding

of the literature being so oriented. What began to emerge (and what was very clearly predicted

over one hundred years previously by none other than Joachim Raff) was the concept of

eclecticism “as a way of life.”

Composers began to understand intuitively that the various “isms” of the past were

little more than isolated explorations each defining and refining a specific but narrow element

within the larger aspect of expressive ways and means. The predominantly anti-Americanism of

leftist politics espoused by so many in the performing arts paradoxically only served to reinforcea cultural view that came with the founding of the country in the 18th century – that one had to

“go to Europe” in order to learn one’s craft and gain a degree of professional legitimacy.



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That said (whether you accept it or not) the core issue became the need to establish a

new common practice – that is, the reassembling of various aesthetic and technical fragments

into a more unified whole. Any composer who is in any way eclectic belongs to this effort.

The term “postmodernism,” then, is really neither appropriate nor is it applicable. We

are not “post modern” in any way, but rather in an active process of consolidation, the necessary

and ultimately unavoidable blending of disparate means into a more uniform or consistent

manner. Given that the entire history of music literature prior to the late Renaissance was headed

toward the unifying principle triadic tonality via the restriction to the major/minor scalar

constructs based on the tonic/dominant relationship, the post-tonal period of the early and mid

XXth century now heads to an infinitely broader consolidation of ways and means which also

enfolds the pre-XXth century tonality.

Given this depth and breadth, and discounting for the moment the emergence of a

more specific dominant trend, the process of consolidation is likely to go for a fairly long time. It

took a matter of a decade or two for the constructive principles guiding previous thousand years

of music literature to unravel completely. To put the pieces back together again, considering the

vastly greater number of pieces that exist to be so put together, is not likely a process that will be

accomplished in a generation or two.

The choice of topic was influenced by my passion for the music genre, but also a

desire to bring together something new in the current interpretation that takes into account the

tradition of cultural and artistic perspective of the term. Specifically,I closely followed the

evolution from old to new and give one special with this phenomenon itself that inevitably

occurred and remained so strongly ingrained in the public mind.

This PhD thesis aims to investigate the impact of current postmodern issue in the

context of solo and chamber repertoire of the three regions selected schools: American,

Romanian and Belgian.I am happy to bring this important cultures and considered auspicious to

do so all the fact that there. I choose a rich repertoire, always renewed and also I have

assimilated proposed in my own concerts and recitals,too.

Following the line of research, I identified the source as there are too many correlations

between music seen as an expression of intertwined trends extension of the dispute between the



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end of the Twentieth century and the beginning of XXI century – in a modern and postmodern

skill.

Today's society is full of prejudices than we tend to realize them. Because the process

of industrialisation has not solved than external issues, we stand with some differences in terms

of culture. Maybe it helped us to be more informed, but that almost everyone has a computer at

home, does not solve the problems of our mind. We are as vulnerable as ever, perhaps even more

vulnerable, because we are dependent on our lifestyle ever.

Today in whole world it s happening something strange. All the stars of cult music

pass by in front of our eyes showing a perishable so high, and tomorrow stamp attenuates fame

so quickly as it appeared. They are making to perturb the message that classical music is trying

to convey. It is true that today,( unlike the years 1960-1970), show the idea to no longer display

the same revolutionary flavor times while living more aggressive in all the aspects. And this is

reflected in the consistency musical message.

In this context, at least the music, no longer fails to represent the tastes and ideals, and

huge capital enjoyed by an artist who disappeared from the forefront of artistic life for more than

thirty years is justified only by the value of his works . Because music has broken down social

and artistic barriers can in different ways, but it did so in a "final" that, for some artists, stamp

"pop icon" is fully justified.

I don’t be a critical person and give remarks to the artists…. anywhere and everywhere.

It s really simple because they are certainly subjective, particularly when we talk about artists

that "I grew up" and who, in one way or another have marked existences, tend to be unjust,

especially to those artists who do not have such a great affinity. But in the end, about postmodern

era I love to write, in academic style, something else.

Why I love this kind of style like minimalism? Or what gives me a syncretic state toshow where is going the background of all music is postmodern with neo-consonant valences?

Honestly and openly that I found a truth.In the music of this period I believe in the philosophy of

innovative, of this avant-garde because feel me freely.



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This thesis aims to demonstrate defying any records that pop icon status that are

categorized as postmodern American seniors are identified and new school, new direction

represented by Vox Novus Music Foundation in New York. So we structured it in three chapters:

American School, Romanian School and Belgian School. I preffer to review artists who founded

the concept of minimalism, which represented a lesser or greater extent, sources of inspiration

for the present generation led by Robert Voisey, Douglas DaSilva, and many more which are just

a few of representatives have also shaped so precisely and beautifully organize this new

accoustic music.

I hope that I have also tried to express and connect the artistic influence of each of the

artists mentioned above, to achieve artistic events that preceded the route traditionally

postmodern phenomenon will remember and those reporting units for many of those who

approached musical style, but also gender listeners. Without any objection, created cultural

phenomenon, besides there for art's flavour is to manifest and bring my personal point of wiev.

I never proposed a purely stylistic research or exclusive approach in terms of the

language sciences, but I want to study a time when musical language has the ability to be

expressed through violinist art, both solo and chamber sound situations. Starting from the

premise that relate to technology development and expression of a certain type of interpretive

approaches closely watched and selection of the most representative works of the three cultures

mentioned above.

Also, when this current postmodern led me to meet him in terms of interpretation, and

report writing, conceptual image led me through the absence of common rules or strict to

transform reality according to the invention and sensitivity as a sum of a variety.

Original appearance, innovative, which I have proposed in this research is to analyze the

relationship between composer and violinist their works to reveal common features of the artistic

movement. Another novel aspect of this work is the selection of musical opposites that can

identify these relationships mentioned above.

In the thesis, the main question we tried to answer was this: why postmodernism in

music was not so easy to recognize that a particular trend, although it is that way?



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The answer to this question, after completing a research path that was not easy, it could

be: the music of postmodernism in the desired changes were gradual. Each of us occur

simultaneously, so they were not so obvious. Music did not feel that incredible effect it had

modern art creators who protested against this new direction.

Consonantism is probably the most important current that caused the postmodernity

values. From a strictly musicological studies dealing with this artistic trend (who are numerous),

a fact that we found during the investigation conducted in this thesis, and suggests that

qualitative treatment works in a representative violinist literature.

The theme is topical because we can see a growing interest in identifying the relationship

between composer, performer and last but not least, the public.

This work has as main objective the promotion of composers known reference works

that are part of the postmodern era by establishing techniques and their principles and

interpretation, promoting a favorable opinion trend towards greater integration in world

phenomenon who I decide to explore.I do not intend, through my work, to exchange views on

Postmodernism, but rather I wanted and tried to follow a subject who is always passionate, but

with the will of contribution to obiectivise through knowledge.

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