Buchzusammenfassung
Alex Ross has been The New Yorker’s music critic for over 20 years. His writing has earned him multiple awards, as well as a Guggenheim Fellowship and a MacArthur Fellowship. The Rest Is Noise is his first book and was a Pulitzer Prize finalist.
As the United States entered World War II, debates over the "politics of style" in music highlighted tensions between artistic purity and societal purpose, a theme echoed in the 1930s when the New Deal supported composers through the Federal Arts Project before political backlash led to its dismantling. Figures like Aaron Copland navigated these challenges, blending populist themes with subtle social commentary, even as Cold War paranoia and personal vulnerabilities, such as his homosexuality, brought FBI scrutiny. Meanwhile, global music influences began merging, with classical techniques inspiring popular acts like The Beatles and The Who, while experimental movements like minimalism and electronic music gained prominence. Composers such as John Cage and Philip Glass redefined the boundaries of classical music, while the blending of jazz and classical traditions by artists like Duke Ellington and George Gershwin showcased America's evolving musical identity. Across the Atlantic, the aftermath of World War I saw a rejection of pre-war grandeur, with groups like Les Six in Paris embracing formalism and American jazz rhythms influencing European compositions. Stravinsky's groundbreaking works, such as *The Rite of Spring*, and Schoenberg's atonal innovations challenged conventions, sparking both acclaim and controversy. Post-World War II, the avant-garde movements in Europe, led by figures like Boulez and Stockhausen, pushed formalism to new extremes, while American composers cultivated a distinct experimental scene. Throughout these shifts, the tension between accessibility and innovation, exemplified by figures like Kurt Weill and Schoenberg, continued to shape the trajectory of classical music.
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