The book examines academic music of recent decades through the prism of the concept of metamodernism: the return of affect in music turns into a return to tonality and melody, post-irony transforms into a radical simplification of language and play...
with the banal, and oscillation becomes a sparkling crystal of new melancholy and new euphoria. Drawing on the manifesto of metamodernism and a number of texts that have become classics for metamodernism, the author constructs their own system of concepts, incorporating the music of Valentin Silvestrov and the meme "D. Good", Russian philosophy and VKontakte public pages, the concept of the "end of the composers' time" by Martinov, and the texts of Slava KPSS.
The book examines academic music of recent decades through the prism of the concept of metamodernism: the return of affect in music turns into a return to tonality and melody, post-irony transforms into a radical simplification of language and play with the banal, and oscillation becomes a sparkling crystal of new melancholy and new euphoria. Drawing on the manifesto of metamodernism and a number of texts that have become classics for metamodernism, the author constructs their own system of concepts, incorporating the music of Valentin Silvestrov and the meme "D. Good", Russian philosophy and VKontakte public pages, the concept of the "end of the composers' time" by Martinov, and the texts of Slava KPSS.
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