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New Simplicity (in German, Neue Einfachheit) was a stylistic tendency amongst some of the younger generation of German composers in the late 1970s and early 1980s, reacting against not only the European avant garde of the 1950s and 1960s, but also against the broader tendency toward objectivity found from the beginning of the twentieth century. Alternative terms sometimes used for this movement are "Inclusive Composition", "New Subjectivity" (Neue Subjektivität), "New Inwardness" (Neue Innigkeit), "New Romanticism", "New Sensuality", "New Expressivity", "New Classicism", and "New Tonality".

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  • Nova Simplicitat (ca)
  • Neue Einfachheit (de)
  • Nueva Simplicidad (es)
  • 新しい単純性 (ja)
  • New Simplicity (en)
  • Новая простота (ru)
rdfs:comment
  • Nova Simplicitat (en alemany, Neue Einfachheit) va ser una tendència estilística entre algunes de les generacions més joves de compositors alemanys de finals dels anys setanta i principis dels vuitanta, que reaccionaven no només contra les avantguardes europees dels anys cinquanta i seixanta, sinó també contra la tendència més àmplia. cap a l'objectivitat trobada des de principis del segle xx. Els termes alternatius que de vegades s’utilitzen per a aquest moviment són "Composició inclusiva", "Nova subjectivitat" (Neue Subjektivität), "Nova interioritat" (Neue Innigkeit), "Nou romanticisme", "Nova sensualitat", "Nova expressivitat", "Nou classicisme", i "Nova tonalitat". (ca)
  • Die Neue Einfachheit ist eine Stilrichtung der Neuen Musik. Eine Definition ist insofern schwierig, als der Begriff keine feste „Schule“ oder Gruppierung in der neuen Musik bezeichnet, sondern eher eine Kompositionshaltung. Zumeist wird der Begriff auch nicht von den Komponisten selbst benutzt, sondern von Musikwissenschaftlern (seit Ende der 1970er Jahre) oder Musikjournalisten geprägt, um dieses Phänomen zu beschreiben. Die Komponisten zogen hingegen andere Begrifflichkeiten vor, etwa Neue Vielfalt oder Neue Eindeutigkeit, wie Wolfgang Rihm 1977 vorschlug. (de)
  • New Simplicity (in German, Neue Einfachheit) was a stylistic tendency amongst some of the younger generation of German composers in the late 1970s and early 1980s, reacting against not only the European avant garde of the 1950s and 1960s, but also against the broader tendency toward objectivity found from the beginning of the twentieth century. Alternative terms sometimes used for this movement are "Inclusive Composition", "New Subjectivity" (Neue Subjektivität), "New Inwardness" (Neue Innigkeit), "New Romanticism", "New Sensuality", "New Expressivity", "New Classicism", and "New Tonality". (en)
  • Новая простота (нем. neue Einfachheit) — музыкальный термин, который используют для описания стилистических особенностей сочинений ряда композиторов, преимущественно немецких, конца 1970-х и начала 1980-х годов, а также других авторов, близких им по духу. Движение возникло в противовес европейскому музыкальному авангарду середины XX века. В качестве синонимов иногда используют следующие понятия: «инклюзивная композиция», «новый романтизм», «новый классицизм», «новая субъективность» (нем. neue Subjektivität), «новый экспрессионизм», «новая тональность», «новая искренность» (нем. neue Innigkeit). (ru)
  • Nueva Simplicidad (en alemán, die neue Einfachheit) fue una tendencia estilística surgida entre algunos de los componentes de la generación más joven de compositores alemanes en los últimos años de la década de los años setenta y comienzos de los ochenta del siglo XX, y que supuso una reacción no solamente contra la vanguardia musical europea de las décadas de los cincuenta y sesenta, sino también contra la más amplia tendencia hacia la objetividad de comienzos de siglo. Algunos términos alternativos utilizados en ocasiones para designar este movimiento son “Nueva Subjetividad” (neue Subjektivität), “Nueva Esencia” (Neue Innigkeit), “Nuevo Romanticismo”, “Nueva Sensualidad”, “Nueva Expresividad”, “Nuevo Clasicismo” y “Nueva Tonalidad”. (es)
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reference
  • Fox, Christopher. 2007. "Where the River Bends: The Cologne School in Retrospect". The Musical Times 148, no. 1901 : 27–42. (en)
  • Kapko-Foretić, Zdenka. 1980. "Kölnska škola avangarde". Zvuk: Jugoslavenska muzička revija, 1980 no. 2:50–55. (en)
  • Reimann, Aribert. 1979. "Salut für die junge Avantgarde." Neue Zeitschrift für Musik 140, no. 1:25. (en)
  • Schubert, Giselher. 2001. "Germany, Federal Republic of I: Art Music, §5: Since 1918". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers. (en)
  • Faltin, Peter. 1979. “Über den Verlust des Subjekts in der neuen Musik: Anmerkungen zum komponieren am Ausgang der 70er Jahre.” International Review of the Aesthetics and Sociology of Music 10, no. 2. : 181–98. (en)
  • Andraschke, Peter. 1981. “Kompositorische Tendenzen bei Karlheinz Stockhausen seit 1965”. In Kolleritsch 1981, 126–43. (en)
  • Jakobsen, Erik H. A. 2001. "Gudmundsen-Holmgreen, Pelle". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers. (en)
  • Fisk, Josiah. 1994. "The New Simplicity: The Music of Górecki, Tavener and Pärt". Hudson Review 47, no. 3 : 394–412. (en)
  • Rickards, Guy. 2002. "Christopher Fox: Straight Lines in Broken Times; Chant suspendu; Generic Compositions #3, #4, & #5; Inner. Andrew Keeling: Quickening the Dead; Unseen Shadows; In the Clear; One Flesh; Tjam; O Ignis Spiritus; Off the Beaten Track. George Nicholson: Spring Songs; Three Pieces from Mots justes; Nodus; Letters to the World. Geoffrey Poole: The Impersonal Touch; Septembral; String Quartet No. 3; Firefinch. Anthony Powers: Fast Colours; Double Sonata; In the Sunlight; Quintet; Another Part of the Island. David Stoll: Piano Quartet, Piano Sonata, Sonata for 2 Pianos, String Trio. 'Rush': Mackey: Feel so Baaad; Wesley-Smith: For Marimba and Tape; Glentworth: Blues for Gilbert; Instrall: Chasm, Relate; Horne: Rush; Hellawell: Let's Dance". Tempo, new series, no. 222 : 48–49+51–53. (en)
  • Williams, Alastair. 2006. "Swaying with Schumann: Subjectivity and Tradition in Wolfgang Rihm's Fremde Szenen I–III and Related Scores". Music and Letters 87, no. 3:379–97. (en)
  • Gruhn, Wilfried. 1981. "'Neue Einfachheit'? Zu Karlheinz Stockhausens Melodien des Tierkreis". Reflexionen uber Musik heute: Texte und Analysen, edited by Wilfried Gruhn, 185–202. Mainz, London, New York, and Tokyo: B. Schott's Söhne. . (en)
  • Beyer, Anders. 2001. "Abrahamsen, Hans." The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers. (en)
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