A NEW STILE ANTICO?
ex. 9-21 Erich Korngold, Violin Concerto, beginning of first movement
fig. 9-6 Serge Rachmaninoff, caricature by Alfred Bendiner.
Hollywood, it might seem, had provided a haven for a musical style that had become outmoded in the concert hall and opera house. The phenomenon could be interpreted in two ways. One could argue that the older style, having lost its contemporaneity (and therefore its authenticity), could only serve in a functional or auxiliary capacity, as an adjunct to the movies, administering emotional stimulation to audiences whose minds were elsewhere. That is how theorists in the tradition of the New German School interpreted it. But one could also argue that the “serious” arts, having fallen victim to the false assumptions of modernism, which measured aesthetic value only in terms of technical innovation, had lost their ability to communicate with any but snob audiences, hence were no longer viable or legitimate. The widening gap between the ordinary concert repertory and the predilections of modernist composers could be cited as evidence for either position: either that audiences were no longer paying due attention, or that modern music was no longer viable.
- Citation (MLA):
- Richard Taruskin. "Chapter 9 Lost—or Rejected—Illusions." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 12 Oct. 2024. <https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-009013.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 9 Lost—or Rejected—Illusions. In Oxford University Press, Music in the Early Twentieth Century. New York, USA. Retrieved 12 Oct. 2024, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-009013.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 9 Lost—or Rejected—Illusions." In Music in the Early Twentieth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 12 Oct. 2024, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-009013.xml
