ESTHETICS OF PASTICHE
But the first question remains: why evoke the styles of particular “masters” rather than use the language of tonality in a more generic way that might ultimately become one's own? Rochberg never answered this question, and some were therefore led to the conclusion that his motives were shallow. Pastiche composition (as opposed to actual quotation) had never before been used for any other purpose than instruction, or the formal demonstration of skill. To use it as a method for sincere expression of personal emotion seemed a contradiction in terms. But one of Rochberg's major contentions, in his essay on the Third Quartet, was that one's personal emotions are never only that, but are also part of the “physical-mental-spiritual web” that connects people.
- Citation (MLA):
- Richard Taruskin. "Chapter 9 After Everything." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 19 Dec. 2014. <http://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-div1-009007.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 9 After Everything. In Oxford University Press, Music in the Late Twentieth Century. New York, USA. Retrieved 19 Dec. 2014, from http://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-div1-009007.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 9 After Everything." In Music in the Late Twentieth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 19 Dec. 2014, from http://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-div1-009007.xml