Abstract
Theodor Adorno noted the difficulty of creating new art that can be beautiful in a truthful way, eschewing any response to musical modernity that would move quickly beyond bewilderment to something easily assimilable as traditionally beautiful. For Jean-François Lyotard the arts for the last century have no longer been concerned primarily with the beautiful but rather with a renewed concept of the sublime. This contrasts strikingly with Helmut Lachenmann’s revalorization of beauty that is not merely the recycling of convention. Beginning from these paradigmatic positions, a range of modern and contemporary musical works is considered in the course of the chapter.
Original language | English |
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Title of host publication | The Routledge Research Companion to Modernism in Music |
Editors | Björn Heile, Charles Wilson |
Place of Publication | London |
Publisher | Routledge |
Chapter | 5 |
Pages | 133-152 |
Number of pages | 20 |
ISBN (Electronic) | 9781315613291 |
ISBN (Print) | 9781472470409 |
DOIs | |
Publication status | Published - 6 Aug 2018 |
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Dive into the research topics of 'Musical Modernity, the Beautiful and the Sublime'. Together they form a unique fingerprint.Profiles
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Edward Campbell
- School of Language, Literature, Music & Visual Culture, Music - Personal Chair
Person: Academic