Music after Zero Hour
Bibliographic Data
| ID | 4909178 |
|---|---|
| Authors | Christopher Fox (0000-0002-9088-0472, corresponding author) |
| Year | 2007 |
| Volume | 26 |
| Issue | 1 |
| Pages | 5-24 |
| Publication date | 2007-02-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Contemporary Music Review (JOURNAL) |
| Journal identifiers | ISSN: 0749-4467 • E-ISSN: 1477-2256 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/07494460601069143 |
| OpenAlex | W2074311205 |
| Language | EN |
| Citations received | 3 |
| References cited | 2 |
The development of the Darmstadt Ferienkurse is set in the context of post-war political and economic circumstances in Germany. The process of de-Nazification, set in operation by the occupying allied forces, is described, especially in relation to the cultural programmes instituted in the American zone. The emerging identity of a Darmstadt School of composers is discussed and the nature of their compositional practice is scrutinised. In particular the use of serial techniques, allusions to popular music, and open-form in the music of Boulez, Maderna, Nono and Stockhausen is examined, with further reference made to the work of B. A. Zimmermann. It is suggested that aspects of this music have a direct correlation with contemporary political events
Aesthetics · Art · Art history · Contemporary classical music · Humanities · Literature · Musical · Performance art · Political science · Politics · Popular music · Sociology · Visual arts · Arts, Culture, and Music Studies · Computer Science · German History and Society · History · Law · Musicology and Musical Analysis
| Unique citing works | 3 |
|---|---|
| Citations per year | 0,19 |
| Citation span | 2010 - 2017 (8) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 3 |