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Leonard B. Meyer, in Emotion and Meaning in Music (1956), [1] distinguished "formalists" from what he called "expressionists": "...formalists would contend that the meaning of music lies in the perception and understanding of the musical relationships set forth in the work of art and that meaning in music is primarily intellectual, while the expressionist would argue that these same ...
Expressionist music would "thus reject the depictive, sensual qualities that had come to be associated with impressionist music. It would endeavor instead to realize its own purely musical nature—in part by disregarding compositional conventions that placed 'outer' restrictions on the expression of 'inner' visions".
His work went on to influence theorists both in and outside music, as well as providing a basis for cognitive psychology research into music and our responses to it. [ 3 ] Meyer's 1967 work "Music, the Arts, and Ideas," was influential in defining the transition to postmodernism in light of new works such as George Rochberg 's Music for the ...
He combined the techniques of then-contemporary classical music with the emotional volatility of Gustav Mahler and the musical expressionism of Arnold Schönberg. Rihm later cited Claude Debussy, saying that Debussy and the expressionist Schönberg combined "minimal formalism and system with the maximal expression".
The same music could be associated with a wide range of emotional responses in the listener. Chabanon rejected the rhetorical approach to music, because he did not believe that there was a simple correspondence between musical characteristics and emotional affects. Much subsequent philosophy of music depended on Chabanon's views. [9]
Expressionism is a modernist movement, initially in poetry and painting, originating in Northern Europe around the beginning of the 20th century. Its typical trait is to present the world solely from a subjective perspective, distorting it radically for emotional effect in order to evoke moods or ideas.
Pages in category "Expressionist music" The following 16 pages are in this category, out of 16 total. This list may not reflect recent changes. ...
Sancta Susanna examines the relationship between celibacy and lust in Christianity, depicting the descent of a nunnery into sexual frenzy. Hindemith around this time in his career has often been regarded as "a twenty-four-year-old dabbling in the realm of German expressionism", [attribution needed] and although it cannot be described as a fully fledged work of expressionism, the opera ...