This is a forum for all forms of music received and appropriated as “modern” in any location around the globe, crossing the boundaries of post/tonality. The focus is primarily but not exclusively on art, avant-garde, experimental, and modernist music, by global (African, Middle Eastern, Central/ South/ Southeast/ East Asian, Latin American, Australasian etc.) composers, minority composers from the West, and composers from the peripheries of Europe and North America.
Shayna Silverstein deposited Transforming Space: The Production of Contemporary Syrian Art Music in the group
Global Musical Modernisms on Humanities Commons 5 days, 6 hours agoIn the first decade of the twenty-first century, a young generation of Syrian experimental composers conceived a space for musiqa mu‘asira, or contemporary art music. Informed by debates on critical aesthetics, modernity, and subjectivity in the Arab world and beyond, these composers drew on particular compositional devices and techniques to m…[Read more]
John Vandevert replied to the topic How can we increase the visibility of global musical modernisms? in the discussion
Global Musical Modernisms on Humanities Commons 3 weeks, 6 days agoIn a short form answer, by administering some realistic thought behind what does it mean to be modern. I have deliberated about what does being a ‘modern’ composer mean. A small consensus I have come to is that now that all of our musical options are available, the way forward is not directly linked to a particular genre, rather cross-pollination…[Read more]
Gavin Lee edited the doc t in the group
Global Musical Modernisms on Humanities Commons 4 weeks agoGavin Lee created the doc t in the group
Global Musical Modernisms on Humanities Commons 4 weeks agoGavin Lee created the doc t in the group
Global Musical Modernisms on Humanities Commons 4 weeks agoGavin Lee edited the doc FAQ in the group
Global Musical Modernisms on Humanities Commons 4 weeks agoGavin Lee commented on the doc BIBLIOGRAPHY in the group
Global Musical Modernisms on Humanities Commons 4 weeks agotest
Gavin Lee edited the doc Submitting a Blog Post in the group
Global Musical Modernisms on Humanities Commons 4 weeks agoGavin Lee created the doc Submitting a Blog Post in the group
Global Musical Modernisms on Humanities Commons 4 weeks agoGavin Lee edited the doc Peer Editing in the group
Global Musical Modernisms on Humanities Commons 4 weeks agoGavin Lee created the doc Peer Editing in the group
Global Musical Modernisms on Humanities Commons 4 weeks agoGavin Lee edited the post CFP in the group
Global Musical Modernisms: on Humanities Commons 4 weeks ago1) CFP: Global Musical Modernisms blog
The Global Musical Modernisms blog is a forum for all forms of music created, received and appropriated as “modern” in any location around the globe, crossing the boundaries of post/tonality. The focus is primarily but not exclusively on art, avant-garde, experimental, and modernist music, by glo…[Read more]
Gavin Lee edited the post Rock under the Red Flag: “A Piece of Red Cloth” by Cui Jian in the group
Global Musical Modernisms: on Humanities Commons 4 weeks, 1 day agoBy Ya-Hui ChengCui Jian, Chinese writer and musician, has long been an iconic symbol representing the voice of Chinese youth in the 1980s.<1> In particular, he is remembered for his performances of “Nothing to My Name” and “A Piece of Red Cloth” during the landmark 1989 Tiananmen Square student protest.<2> Debuting in 1986, “Nothing to My Name”…[Read more]
Gavin Lee wrote a new post The Art of Derivation: Jo Kondo’s Paregmenon in the group
Global Musical Modernisms: on Humanities Commons 4 months, 1 week agoBy Anton Vishio
“Paregmenon is a figure which of the word going before deriveth the word following.” So Henry Peacham defined the rhetorical device, in one of the word’s earliest English attestations. Pare […]
Gavin Lee edited the post Akemi Naito (Japan/NY): The Woman in the Dunes for Solo Percussionist (2012) in the group
Global Musical Modernisms: on Humanities Commons 4 months, 1 week agoThe substance of sound is central to Japanese composer Akemi Naito’s compositional thinking. She asserts that the structure of a work “follows the sound,” which has “energy of direction.” Naito feels that “writing for percussion gives the composer space for possibilities.”<1> As a young student in Tokyo during the 1960s and 70s, Naito learned…[Read more]
Gavin Lee edited the doc BIBLIOGRAPHY in the group
Global Musical Modernisms on Humanities Commons 4 months, 3 weeks agoGavin Lee created the doc BIBLIOGRAPHY in the group
Global Musical Modernisms on Humanities Commons 4 months, 3 weeks agoGavin Lee edited the post The Story of Unsuk Chin’s Cello Concerto in the group
Global Musical Modernisms: on Humanities Commons 4 months, 3 weeks agoBy Jung-Min Lee
Unsuk Chin, born in South Korea and now based in Germany, has only occasionally engaged with traditional Korean or Asian music. Among a handful of examples is the last movement of Akrostichon-Wortspiel (1991), titled “Aus der alten Zeit,” described as “an ironic commentary on the traditional Korean court music” (it is left to t…[Read more]
Gavin Lee started the topic How can we increase the visibility of global musical modernisms? in the discussion
Global Musical Modernisms on Humanities Commons 5 months, 3 weeks agoHow can we increase the visibility of global musical modernisms?
Gavin Lee wrote a new post The Music of Helena Tulve in the group
Global Musical Modernisms: on Humanities Commons 5 months, 3 weeks agoBy Amy Bauer
The only student of Erkki Sven-Tüür, Estonian composer Helena Tulve shares her former teacher’s eclecticism and love for nature. Yet Tulve’s music eschews expressionist drama, reflecting more k […]
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