HALF-STEPLESSNESS
But that is mainly because we know now how influential Satie’s subversive message eventually became, and what an important role these seemingly dehistoricized pieces eventually played in history. It took them a long time, though, to infiltrate the thinking of any but a narrow circle of the composer’s friends. Although written in 1887, the Sarabandes were not published until 1911. The Gymnopédies were issued in a tiny edition by a friend of the composer in the year of their composition, but were not effectively placed on the market until 1898; and when they were finally published for actual market distribution, they were accompanied by a pair of orchestrations (of nos. 1 and 3) by a friend of the composer who had in the meantime become famous and fashionable, and who thereby became the chief conduit through which the implications of Satie’s somewhat awkward “counterculturalisms” made fruitful contact with the established culture.
- Citation (MLA):
- Richard Taruskin. "Chapter 2 Getting Rid of Glue." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 6 Dec. 2023. <https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-002003.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 2 Getting Rid of Glue. In Oxford University Press, Music in the Early Twentieth Century. New York, USA. Retrieved 6 Dec. 2023, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-002003.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 2 Getting Rid of Glue." In Music in the Early Twentieth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 6 Dec. 2023, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-002003.xml
