From Modernism to Postmodernism

The book explores two radical changes of cultural and social paradigm that determined the World after 1945 - Modernism and Postmodernism. From the cataclysmic atmosphere emerged the second wave of Modernism. In art this attitude was manifested in the form of a radical break with the aesthetic and stylistic characteristics of prior generations. In architecture the International Style was born, meanwhile similar «universality» was also a characteristic of musical serialism.
From the beginning of the 1970s the wheels again began to turn in the other direction. The powerful destructive will of modernism increasingly waivered, and the period after modernism - postmodernism - began. The book answers questions related to the reasons for these turnarounds, their consequences and their implications.

Katarina Bogunovi-c Hoc-evar works as an Assistant Professor at the Department of Musicology at the Faculty of Arts, University of Ljubljana. Her research interests include the history of 19th and first half of 20th century music, the history of Slovene music and the aesthetics of music.Gregor Pompe studied comparative literature, German language and musicology at the Faculty of Arts, University of Ljubljana. He works as an Associate Professor at the Department of Musicology at the Faculty of Arts in Ljubljana. His scientific interest focuses on the problem of musical semantics, the history of opera and contemporary music.Nejc Sukljan studied musicology and general history at the Faculty of Arts, University of Ljubljana. He works as an Assistant at the Department of Musicology at the Faculty of Arts, University of Ljubljana.

Preface ............................................................................................................................9 Theoretical Basis Gregor Pompe Postmodernism in Society and Art: An Overview ................................................17 Helmut Loos Modernity - Postmodernity. Controversial Core Structures of Musical Thinking ...................................................................................................33 Petra -eferin The Creative Practice (of Architecture): Insisting on the In-Between ................43 Nikša Gligo Globalization and/or Pluralism: But What about Musics, Their Styles, Techniques and Musicology? ....................................................................................55 From Modernism - Gražina Daunoravi-ien- Mikalojus Konstantinas -iurlionis- (1875-911) Musical Works as an Example of European Modernism in its Early Stages ......................................71 Manuel Farolfi Modernism at Work in Pierre Boulez-s Writings, 1948-952 ........................... 107 Hei Yeung John Lai Rethinking Form: A Structural Analysis of Constellation-Miroir, Formant 3 of Boulez-s Third Piano Sonata ........................................................... 127 Ka-man Choi Textual Permutation in Mauricio Kagel-s Anagrama (1957-958): New Modes of Serial Thought ............................................................................... 153 6 Contents Cristina Scuderi Contemporary Opera and Musical Theatre on Italian Stages Between the Second Postwar Period and the End of the 1960s: Notes for an Overview ..... 165 -to Postmodernism J-ija Jon-e From Modernism to Postmodernism: The Modulation and Correlation between Two Styles in the Context of Musical Works by Sacred Minimalists .................................................................. 177 Moeko Hayashi Modernism, Postmodernism and Globalism: Takemitsu, November Steps ..... 193 Gregor Pompe Bernd Alois Zimmermann-s Requiem fur einen jungen Dichter and Leonard Bernstein-s Mass: European and American postmodernism, or pluralism vs. eclecticism ......................................................................................... 207 Jana Majerova Musical Quotation as a Fundamental Way for Expressing a Message in the Work of Alfred Schnittke ............................................................. 231 Simone Heilgendorff Wien Modern, Festival d-Automne a Paris, and Warsaw Autumn after the Year 2000 in a Comparative Perspective: European or National Forums for Contemporary Art Music and Culture? .......................... 253 Alessandro Miani A Language-Based Approach to Music and Intertextuality ............................... 267 Milena Bozhikova Contemporary Music between History and Eschatology .................................. 279 Postmodernism in Eastern Europe J-is Kudi-šP-eris Vasks as Neo-Romantic: Characteristic Style Signs of Latvian Composer Symphonic Music in the Context of Postmodern Culture and Art ........................................................................................................ 303 Kamil- Rupeikait- The Semantics of the Music of Anatolijus Šenderovas ....................................... 327 Joanna Schiller-Rydzewska Different Faces of Postmodernism in the Works of Contemporary Composers of the Gdäsk Milieu ......................................................................... 337 Tatiana Pirnikova The Way from Modernist Positions to the Intimate Lyrical Position of the Composer Oto Ferenczy .............................................................................. 353 Niall O-Loughlin Lojze Lebi-: Modernism and the Vernacular ...................................................... 361 Ira Prodanov Krajišnik Opera Mileva by Aleksandra Vrebalov: A Tale of Woman-s Otherness ........... 377