ACCESSIBILITY
Partly following Rochberg's example, partly in response to a general turn away from utopian thinking that mounted through the 1980s toward a dramatic climax in the fall of the Berlin Wall and the end of the cold war in Europe, several other prominent and successful serialists (and a few avant-gardists of a different stripe) defected to “tonal” idioms that the master narrative had long since declared dead. The loosening of cold-war thinking allowed the reopening of many old and ostensibly settled questions, including the question whether commitment to historical progress was worth the sacrifice of the audience. No longer shadowed by the specter of totalitarianism, “accessibility” regained a measure of respectability. Where Rochberg described his acts and motives strictly in “poietic” (maker's) terms—his own need for freedom of choice and expressive scope—younger converts to tonality put things “esthesically,” in terms of the audience and its needs.
- Citation (MLA):
- Richard Taruskin. "Chapter 9 After Everything." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 8 Dec. 2024. <https://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-div1-009008.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 8 Dec. 2024, from https://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-div1-009008.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 8 Dec. 2024, from https://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-div1-009008.xml
