Between Romanticism and Modernism and Postmodernism
George Crumb'sBlack Angels
Bibliographic Data
| ID | 4390773 |
|---|---|
| Authors | Blair Johnston (Indiana University, corresponding author) |
| Year | 2012 |
| Volume | 18 |
| Issue | 2 |
| Publication date | 2012-06-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Music Theory Online (JOURNAL) |
| Journal identifiers | ISSN: 1067-3040 • E-ISSN: 1067-3040 |
| Publisher | Society for Music Theory (PUBLISHER • US) |
| DOI | 10.30535/mto.18.2.3 |
| OpenAlex | W1515072961 |
| Language | EN |
| Citations received | 4 |
| References cited | 12 |
This article discusses the use of tonal quotation/pastiche in George Crumb'sBlack Angels(1970) in the context of an analysis of the entire work. I draw from Losada's work on postmodernism and collage to understand the organization of the quotation/pastiche movements, and I draw from Bass's work on Crumb to understand the non-tonal pitch structures in the quartet as a whole. But I suggest that the quartet-an unusual combination of palindromic design and goal-oriented, programmatic activity-also engages the paradigms ofErlösung(Darcy) and teleological genesis (Hepokoski), which suggest a link betweenBlack Angelsand the romantic symphonic tradition and which provide a context for understanding the role played by the quotation/pastiche movements in the work
Aesthetics · Art · Art history · Epistemology · Literature · Postmodernism · Romance · Romanticism · Symphony · Teleology · History · Literature, Musicology, and Cultural Analysis · Music Technology and Sound Studies · Musicology and Musical Analysis · Philosophy
| Unique citing works | 4 |
|---|---|
| Citations per year | 0,29 |
| Citation span | 2012 - 2022 (11) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 4 |