The Postmodern Variety in the Music of the Second Part of the Twentieth Century
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The changes which have taken place in music since World War Ⅱ, have been unusually radical. In the first place, the introduction of purely electronic sound synthesis have opened new areas to the composer. Secondly, the technique of serialism applied to rhythm, loudness, timbre and other parameters. The total serialism has continued to have a determining influence on musical composition. Thirdly, John Cage introduced the use of chance. Chance operations resulted in the dissolution of the traditional musical form for two hundred years. And there have been other revolutions of narrower scope. All these revolutions have caused the extraordinary diversity of music since 1960s. It has become no longer possible to speak of a unified creative fellowship. Variety is the single distinctive feature of contemporary music. The term postmodernism has been applied to the music. Postmodernism has evolved through critiques of modernism. Without modernism, postmodernism is unthinkable. The term modernism refers to the conceptual order inaugurated by the Enlightenment. The pursuit of totality is basic to modernist thought. Postmodernist claims that the true human subject is fragmentary, incoherent. A turn to postmodernism had a great effect on the ways we think about music, and made it necessary to rethink music from every possible perspective. Classical music and the modern subject have interlocking histories, the crux of which is the formation of the concept of the aesthetic in the mid-eighteenth century. Thereafter, music figures with increasing regularity and importance as a formative element of subjectivity, or more exactly of subjectivity at its extremes. In contrast to it, postmodern attitudes defamiliarize and deconstruct the oppositions of the intrinsic and extrinsic, or the musical and the extramusical or subjective musical response and objective musical knowledge. More flexible approaches resituate the oppositions in the historicity of human subjects and their discourses. Our subjective interpretations of music might recognize its semantic capacities as a cultural practice. These interpretation could be contestable historically conditioned forms of knowledge.
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