Postmodern music does not respect the boundaries between sonorities and procedures of the past and of the present.
This Oasis song from 1995 samples the melody from John Lennon's Imagine which was released in 1971. They bring the tune into the 90's 'Britpop' phase of music Oasis are so well known for; this shows a disregard for the procedures of the past, editing a well respected piece of music does not respect the boundaries of past and present.
Kanye samples Shirley Bassey's iconic song, particularly the chorus. This disregards procedures of past and present. It also ignores the boundaries of past and present by completely remixing the song to give an alternative view point of the song, as well as mixing genres.
Postmodern music shows disdain for the often unquestioned value of structural unity.
This songs features Will Ferrell quotes 'No one knows what it means, but it's provocative, Gets the people going!' from film Blades of Glory. This interrupts the structure of the song, the quote is also said to represent an opinion of rap music, which could potentially suggest the song features an element of irony.
This song starts with a short story which explains the context of the song.
Thursday 15 March 2012
Wednesday 14 March 2012
The IT Crowd
Season 2, Episode 3 - Moss and the German
- Opening credits are visually similar to old 80's computer games. The theme tune also sounds like music you would hear on these computer games. (Term used for this music is 8bit)
- Also reminiscent of Gary Newman's work (1980's Synth pioneer)
- Opening sequence features parody of piracy advert's from beginning of films, largely exaggerated.
- Hyper real characters including German Cannibal and Russian smoker. Also very stereotypical Police officer.
- Married couple homage - common feature of comedies, two male leads play husband and wife roles. Moss lies on sofa when talking to Jen, links to idea of marriage counselling.
- References Morecombe and Wise 'In Bed' with marriage idea.
- Russian stereotype, very hyper real. Taken very far, ludicrous, speaks with russian accent. Music and visuals change when smoking, lighting becomes bleaker.
- German Cannibal- bricolage of German and cannibal stereotypes. Exaggerated and references Hannibal Lector and German stereotypical food; Schweinefleisch is pork. The accent is also very precise to the German way of speaking.
- Fine Young Cannibals are an 80's band referenced in terms of the German cannibal.
- Douglas Reyhnam dances to door singing 'There's somebody at the door' from 80's TV show sang by Rod Hull and Emu.
- Gorky Park is a famour Russian Novel also referenced.
- Film references include Tarantino and Ocean's Eleven.
Tuesday 13 March 2012
Postmodern Artist
Postmodern Artist on Prezi
I chose Coldplay because of their link to Brian Eno and I have a decent knowledge of their work. I think in recent years they have become more postmodern since taking on Eno as their producer.
I chose Coldplay because of their link to Brian Eno and I have a decent knowledge of their work. I think in recent years they have become more postmodern since taking on Eno as their producer.
Postmodernism Music Theory
Media Theorist Jonathan Kramer says "the idea that postmodernism is less a surface style or historical period than an attitude. Kramer goes on to say 16 "characteristics of postmodern music, by which I mean music that is understood in a postmodern manner, or that calls forth postmodern listening strategies, or that provides postmodern listening experiences, or that exhibits postmodern compositional practices."
According to Kramer (Kramer 2002, 16–17), postmodern music":
1. is not simply a repudiation of modernism or its continuation, but has aspects of both a break and an extension
2. is, on some level and in some way, ironic
3. does not respect boundaries between sonorities and procedures of the past and of the present
4. challenges barriers between 'high' and 'low' styles
5. shows disdain for the often unquestioned value of structural unity
6. questions the mutual exclusivity of elitist and populist values
7. avoids totalizing forms (e.g., does not want entire pieces to be tonal or serial or cast in a prescribed formal mold)
8. considers music not as autonomous but as relevant to cultural, social, and political contexts
9. includes quotations of or references to music of many traditions and cultures
10. considers technology not only as a way to preserve and transmit music but also as deeply implicated in the production and essence of music
11. embraces contradictions
12. distrusts binary oppositions
13. includes fragmentations and discontinuities
14. encompasses pluralism and eclecticism
15. presents multiple meanings and multiple temporalities
16. locates meaning and even structure in listeners, more than in scores, performances, or composers
Jonathan Donald Kramer (December 7, 1942, Hartford, Connecticut – June 3, 2004, New York City), was a U.S. composer and music theorist.
Active as a music theorist, Kramer published primarily on theories of musical time and postmodernism. At the time of his death he had just completed a book on postmodern music and a cello composition for the American Holocaust Museum.
According to Kramer (Kramer 2002, 16–17), postmodern music":
1. is not simply a repudiation of modernism or its continuation, but has aspects of both a break and an extension
2. is, on some level and in some way, ironic
3. does not respect boundaries between sonorities and procedures of the past and of the present
4. challenges barriers between 'high' and 'low' styles
5. shows disdain for the often unquestioned value of structural unity
6. questions the mutual exclusivity of elitist and populist values
7. avoids totalizing forms (e.g., does not want entire pieces to be tonal or serial or cast in a prescribed formal mold)
8. considers music not as autonomous but as relevant to cultural, social, and political contexts
9. includes quotations of or references to music of many traditions and cultures
10. considers technology not only as a way to preserve and transmit music but also as deeply implicated in the production and essence of music
11. embraces contradictions
12. distrusts binary oppositions
13. includes fragmentations and discontinuities
14. encompasses pluralism and eclecticism
15. presents multiple meanings and multiple temporalities
16. locates meaning and even structure in listeners, more than in scores, performances, or composers
Jonathan Donald Kramer (December 7, 1942, Hartford, Connecticut – June 3, 2004, New York City), was a U.S. composer and music theorist.
Active as a music theorist, Kramer published primarily on theories of musical time and postmodernism. At the time of his death he had just completed a book on postmodern music and a cello composition for the American Holocaust Museum.
Tuesday 6 March 2012
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