The essay presents an attempt at characterizing contemporary music’s culture by identifying a dialectical tension between “modern” and “postmodern” currents in it. After initial considerations on the manifold usages of the term “postmodernism,” five composers’ approaches will be analyzed: John Cage, Philip Glass (and other minimalists), Bernhard Lang, Mauricio Kagel and Johannes Kreidler. However different they may be from one another, all these composers are being interpreted as undermining, in various ways, the practice and theoretical background of modernist avant-garde music.
philosophy of music, philosophy of culture, postmodernism, avant-garde music, contemporary music
How to cite:
Rychter, Marcin. “Postmodern Music and its Future.” Eidos. A Journal for Philosophy of Culture 3, no. 3(9) (2019): 43-56. https://doi.org/10.14394/eidos.jpc.2019.0030.
Institute of Philosophy, University of Warsaw
Barthes, Roland. Image, Music, Text. Translated by Stephen Heath. London: Fontana Press, 1977.
Craenen, Paul. Composing Under the Skin: The Music-Making Body at the Composer’s Desk. Leuven: Leuven University Press, 2014. https://doi.org/10.2307/j.ctt13x0ms5.
Cramer, Alfred W., ed. Musicians and Composers of the 20th Century. Pasadena, CA: Salem Press, 2009.
Fokkema, Douwe. Literary History, Modernism, and Postmodernism. Amsterdam and Philadelphia: John Benjamins Publishing Company, 1984.
Griffith, Paul. The Substance of Things Heard: Writings About Music. Rochester, NY: University of Rochester Press, 2005.
Habermas, Jürgen. “Modernity: An Unfinished Project.” Translated by Nicolas Walker. In Habermas and the Unfinished Project of Modernity: Critical Essays on The Philosophical Discourse of Modernity, edited by Maurizio Passerin d’Entreves and Seyla Benhabib. Cambridge, MA: MIT Press, 1997.
Hanslick, Eduard. On the Musically Beautiful. Translated by Geoffrey Payzant. Indianapolis: Hackett Publishing Company, 1986.
Jameson, Frederic. The Cultural Turn: Selected Writings on the Postmodern 1983-1998. London and New York: Verso, 1998.
Jencks, Charles. “Postmodern and Late Modern: The Essential Definitions.” Chicago Review 35, No. 4 (1988): 31-58. https://doi.org/10.2307/25305377.
Kramer, Lawrence. Classical Music and the Postmodern Knowledge. Berkeley, Los Angeles, and London: University of California Press, 1996.
Lehmann, Harry. Die digitale Revolution der Musik. Eine Musikphilosophie. Mainz: Schott Music GmbH & Company, 2012.
Lipka, Krzysztof. Entropia kultury. Sztuka w ponowoczesnej pułapce. Warszawa: Uniwersytet Muzyczny im. F. Chopina, 2013.
Lissa, Zofia. Szkice z estetyki muzycznej. Kraków: Państwowe Wydawnictwo Muzyczne, 1965.
Lyotard, Jean-François. The Postmodern Condition: A Report on Knowledge. Translated by Geoff Bennington and Brian Massumi. Minneapolis: University of Minnesota Press, 1984. https://doi.org/10.2307/1772278.
Nyman, Michael. Experimental Music: Cage and Beyond. Cambridge: Cambridge University Press, 1999.
Putnam, Hilary. Reason, Truth and History. Cambridge: Cambridge University Press, 1981. https://doi.org/10.1017/CBO9780511625398.
Rychter, Marcin. “How Music Turned into Philosophy and What Implications Does this Have?” Kronos. Philosophical Journal 2 (2013): 158-166. http://kronos.org.pl/wp-content/uploads/2016/11/Kronos_Philosophical_Journal_vol-II.pdf.
Woods, Tim. Beginning Postmodernism. Manchester: Manchester University Press, 1999.
Open Access Statement:
This is an open access journal which means that all content is freely available without charge to the user or his/her institution. Users are allowed to read, download, copy, distribute, print, search, or link to the full texts of the articles, or use them for any other lawful purpose, without asking prior permission from the publisher or the author, as long as the author and original source are properly cited. This is in accordance with the BOAI definition of open access.
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. Submitting a text to Eidos. A Journal for Philosophy of Culture means that the author agrees with the general conditions of this license. The author does and will maintain copyrights and publishing rights for his/her article without any restrictions.