Simone de Beauvoir is a representative of one of the leading philosophical schools in the middle of the 20th century. Of notions of postmodernity as they are applied to music. In so doing, the essay encourages a re-evaluation That has emerged in literary circles as a counterweight to postmodernism. It is argued that Koehne’s music has much in common aesthetically with the neo-realism Lipovetsky is concerned, as is Koehne, with the way we as individuals negotiate the complexities, excesses, paradoxes, andĪnxieties of twenty-first-century life. Like Marc Augé in his promotion of a more anthropologically orientated supermodernity, Koehne’s approach is to chronicle the vicissitudes of life in what Gilles LipovetskyĪrgues is today’s hypermodern world. Longer be described accurately as postmodern. Intellectually, the world that the three works inhabit can no Quotidian, as articulated by Jennifer Anna Gosetti-Ferencei. Philosophically, Koehne’s creative locus intersects with the idea of the ecstatic Or quotidian, and its artistic expression. Focusing on three recent works by Koehne (In-Flight Entertainment, The Ringtone Cycle, and Mass for the Middle Aged), the study maps his aesthetic and praxis onto philosophical, intellectual, and aesthetic strategies aligned with the everyday, This article evaluates the compositional aesthetic of the Yale-educated, Virgil Thomson-trained Australian composer Graeme
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