THE REACTION

Chapter:

CHAPTER 3 Aristocratic Maximalism

Source:

MUSIC IN THE EARLY TWENTIETH CENTURY

Author(s):

Richard Taruskin

That terror was something that the audience felt—and can still feel, if the orchestra can refrain from showing off the ease with which, nearly a century later, it is now possible to perform Stravinsky’s music. The alliance of the music with the stage action and the romantic neoprimitivist ideology that the action embodied makes it possible to continue to speak of Stravinsky’s music as “maximalist.” Despite its extreme novelty, at least so far as the Paris audience was concerned, its expressive aims were intelligible, indeed familiar.

Citation (MLA):

Richard Taruskin. "Chapter 3 Aristocratic Maximalism." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 8 Dec. 2024. <https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-003011.xml>.

Citation (APA):

Taruskin, R. (n.d.). Chapter 3 Aristocratic Maximalism. In Oxford University Press, Music in the Early Twentieth Century. New York, USA. Retrieved 8 Dec. 2024, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-003011.xml

Citation (Chicago):

Richard Taruskin. "Chapter 3 Aristocratic Maximalism." In Music in the Early Twentieth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 8 Dec. 2024, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-003011.xml