(Ar’-vo Pairt) b. 1935 Estonian composer Pärt initially wrote in a neo-classical style, gradually shifting to serial techniques as previously banned scores filtered into the country. Works such as Perpetuum mobile (‘Continuous Motion’, 1963) attracted the wrath of the state. A love of Baroque music and particularly J. S. Bach is revealed in works such as Collage teemal B-A-C-H (1964). ...
Sometimes called ‘the African John Lee Hooker’, Ali ‘Farka’ Touré (1939–2006) was a Malian singer and guitarist, and one of Africa’s most renowned musicians. Many consider his music to be a bridge between traditional Malian music and its presumed descendant, the blues. The interplay of rhythm and sound in Touré’s music was similar to John Lee Hooker’s hypnotic blues style. ...
In the twentieth century, some musicians became interested in inventing new acoustic instruments that could take music beyond the tuning systems, scales and harmonic language inherent in the instruments commonly played in western classical music. Creating new instruments created a revolutionary new sound world. New instruments were often promoted outside the normal scope of the bourgeois concert audience, ...
(Trumpet, 1907–91) Part of the Chicago-based Austin High School Gang, along with Bud Freeman, Frank Teschemacher, Jim Lannigan and Dave Tough, McPartland was inspired by recordings of the New Orleans Rhythm Kings and Bix Beiderbecke, who he replaced in the Wolverines in 1925. He joined Ben Pollack’s band in 1927 and recorded with the McKenzie-Condon ...
Almost no Texan musicians have ever herded cattle, but most like to think of themselves as cowboys nonetheless. They imagine themselves pulling out an acoustic guitar after dinner and singing a song about the adventures and frustrations they have known. And not just any old song – it has to be one they wrote and it has to be more ...
Dolly Rebecca Parton was born on 19 January 1946, in Locust Ridge, Tennessee. Immediately after graduation in the summer of 1964, she travelled from the Blue Ridge Mountains to Nashville, taking with her dreams of country stardom and little else. Ever since, she has thrilled audiences worldwide. An entertainer extraordinaire, Dolly has also become an ...
(Vocal/instrumental group, 2002–09) Bloc Party – Kele Okereke (vocals), Matt Tong (drums), Russell Lissack (guitar) and Gordon Moakes (bass) – achieved massive critical acclaim for their debut, Silent Alarm (2005). The record managed to appeal to a cross section of music lovers (Okereke even guested on a Chemical Brothers’ track), but is largely remembered for its stop-start guitar anthems ...
b. 1944 English composer The influence of Cage and Feldman can be heard in Nyman’s creation of elastic, intuitive sound-worlds. 1–100 (1976) is simply a series of 100 chords descending through a circle of fourths. Nyman’s early music is full of allusions to and quotations from music of the past, in addition to the use of amplification and rhythms ...
The Contemporary era can be dated back to Anton Webern’s death in September 1945. Webern’s influence on the generation of post-Second World War composers means that much of the music from the 1950s sounds more modern than music from the last 20 years. Composers such as Karlheinz Stockhausen (b. 1928) and Pierre Boulez (b. 1925) extended the 12-note, or serial ...
Contemporary music whose ancestry lies in the Western classical tradition finds itself in a curious position. Nothing illustrates this better than the fact that we are not entirely sure what to call it. The label ‘classical’ seems anachronistic, especially when applied to composers who have challenged some of the fundamental assumptions of the classical tradition. ‘Concert music’ is similarly problematic ...
After the devastation wrought in Europe by World War II, the urgent task of rebuilding the continent’s war-torn urban fabric demanded radical solutions. These were found in the centralized urban planning advocated before the war by architects such as Le Corbusier and Ludwig Mies van der Rohe. Writing in 1953, the composer Karlheinz Stockhausen (1928–2007) created an explicit analogy ...
Composers of the twentieth century and up to the present have often been drawn to the music of the medieval and Renaissance periods. A relatively early example is Igor Stravinsky (1882–1971), who became interested in the fourteenth-century technique of hocket and in the harmonic experiments of the Italian composer Carlo Gesualdo (c. 1561–1613). Hocket has since inspired many composers, both ...
The very name, ‘Classical Era’, speaks for itself: it proclaims a period that is regarded as ‘Standard, first-class, of allowed excellence’, with manifestations that are ‘simple, harmonious, proportioned, finished’, to quote a dictionary definition. The period from 1750 to roughly 1820 is widely recognized as one of exceptional achievement in music – it is the ...
As part of the Renaissance (literally ‘rebirth’), which began in Italy in around 1450, the Baroque era was a revolution within a revolution. It saw a break from the Medieval view of humanity as innately sinful. Instead, Renaissance thinking cast individuals as a dynamic force in their own right and gave free rein to human imagination, ingenuity and ...
The first half of the nineteenth century was essentially a period of insurgence in Europe, from the French Revolution in 1789 to the series of uprisings that rocked the continent around 1848. Meanwhile, the Industrial Revolution was also underway, beginning in Britain, then spreading south through the rest of Europe. With these two strands of revolution came ...
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