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.

How can we increase the visibility of global musical modernisms?

  • Author
  • #28141

    Gavin Lee

    How can we increase the visibility of global musical modernisms?

  • #32194

    John David Vandevert

    In 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 of multi-genre music may be the best and dare I say ‘only’ move forward. By consciously prescribing barriers to genres, we are not only limiting what each type of music can potentially evolve to be, but perhaps it additionally keeps the composer and subsequent listener in a pseudo-formalistic mindset. In my opinion, the way forward is by enriching genres with appropriate attributes of others, thereby creating a synergistic environment where composers feel free to sample and combine, rather than austerely limiting themselves to being a ‘jazz composer,’ ‘classical composer,’ etc.

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