By George Rochberg
"Rochberg provides the infrequent spectacle of a composer who has made his peace with culture whereas retaining a strikingly person profile. . . . [H]e succeeds in reworking the elegant suggestions of conventional track into modern language."
---Washington Post
"An imperative e-book for an individual who needs to appreciate the unhappy and curious destiny of song within the 20th century."
---Atlantic Monthly
"The writings of George Rochberg stand as a top from which our earlier and destiny might be viewed."
---Kansas urban Star
As a composer, George Rochberg has performed a number one function in bringing a couple of transformation of latest tune via a reassessment of its relation to tonality, melody, and concord. In The Aesthetics of Survival, the writer addresses the legacy of modernism in tune and its similar impression at the cultural milieu, fairly its overemphasis at the summary, rationalist pondering embraced by way of modern technological know-how, expertise, and philosophy. Rochberg argues for the renewal of holistic values so as to make sure the survival of track as a humanly expressive art.
A well known composer, philosopher, and instructor, George Rochberg has been venerated with innumerable awards, together with, such a lot lately, an Alfred I. du Pont Award for striking Conductors and Composers, and an André and Clara Mertens modern Composer Award. He lives in Pennsylvania.
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Additional info for The Aesthetics of Survival: A Composer's View of Twentieth-Century Music
Sample text
Ambivalence, uncertainty, and nostalgia are reflected in the attitudes and works of the masters of the first half of our century-Schoenberg, Stravinsky, and Bart6k; although, in the case of Varese, we see no sign of the vacillation that afflicted his generation. The first generation to accept unreservedly the break with tradition grew to maturity following World War II. Nevertheless, in the ranks of today's advanced composers there is now discernible a growing tension and widening gap between those who proclaim their abandonment of and disengagement from history and those who, reacting against the consequences of this denial, reassert the value and necessity of a sense of historical continuity, a feeling for the continuum of human life and culture.
It seems as though twentieth-century man has, with Blake's sunflower, grown "weary of time" and history, the very time and history adulated by earlier centuries. According to Mircea Elia~e, contemporary man is in "terror of history" and its increasingly relentless pressure. He would appear to be rejecting three centuries of a doctrine he can no longer live with because it does not provide him with the means by which he can successfully cope with the reality of his present existence. "7 We shall not dwell on the noteworthy fact that, beginning with the Baroque era, the temporal structure of music, linked to an increasingly strong and expanding sense of tonality, developed ever more complex forms of sonorous continuity which reveal the presence of an implicit assumption of time as irreversible, linear, progressive.
Today, the sound material of music enjoys an autonomy never before accorded it. This is due largely, I believe, to its liberation from what Sessions calls "the musical train of thought," the process of establishing logical connections between melodic phrase shapes and the harmonic progressions which support them. This liberation permits sounds to create their own context, a reversal of the traditional procedure in which the train of thought largely determined the individual sounds and their succession.