PASTICHE AS METAPHOR

Chapter:

CHAPTER 8 Pathos Is Banned

Source:

MUSIC IN THE EARLY TWENTIETH CENTURY

Author(s):

Richard Taruskin

The feature of the Octet that most forcibly impressed early listeners (especially composer-listeners) like Copland—namely the “pastiche” element that impressed him as a “mess of eighteenth-century mannerisms”—was actually its least distinctive or necessary aspect, however useful it was as an attention-grabber, and however durable it has proved as a superficial mark of “neoclassicism.” The deliberate imitation or revival of “ancient” or obsolete musical styles for specific emblematic or expressive purposes has a history that goes back at least as far as the Renaissance. Opera was born out of one such revival, associated with the northern Italian academies of the late sixteenth century.

Citation (MLA):

Richard Taruskin. "Chapter 8 Pathos Is Banned." 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-div1-008002.xml>.

Citation (APA):

Taruskin, R. (n.d.). Chapter 8 Pathos Is Banned. 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-div1-008002.xml

Citation (Chicago):

Richard Taruskin. "Chapter 8 Pathos Is Banned." 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-div1-008002.xml