Eduardo Herrera
- Published in print:
- 2020
- Published Online:
- October 2020
- ISBN:
- 9780190877538
- eISBN:
- 9780190877569
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190877538.003.0006
- Subject:
- Music, Ethnomusicology, World Music
This chapter uses CLAEM as a window into how musical avant-gardism was understood and experienced. The chapter provides a thick description of how different CLAEM fellows engaged with a wide range of ...
More
This chapter uses CLAEM as a window into how musical avant-gardism was understood and experienced. The chapter provides a thick description of how different CLAEM fellows engaged with a wide range of practices that were ultimately manifestations of avant-garde desires. It argues for a plural understanding of the avant-garde and its diverse reception which included life-long embrace, temporary adoption, gradual disillusionment, and even intolerant rejection. The chapter portrays the broad meaning of CLAEM participation for many composers in the musical avant-garde: it meant working within certain aesthetic ideals and extending these ideals to everyday practice as part of fluid and rich identities. These composers went well beyond writing music to militantly organizing events, promoting works, musicological writing, and teaching.Less
This chapter uses CLAEM as a window into how musical avant-gardism was understood and experienced. The chapter provides a thick description of how different CLAEM fellows engaged with a wide range of practices that were ultimately manifestations of avant-garde desires. It argues for a plural understanding of the avant-garde and its diverse reception which included life-long embrace, temporary adoption, gradual disillusionment, and even intolerant rejection. The chapter portrays the broad meaning of CLAEM participation for many composers in the musical avant-garde: it meant working within certain aesthetic ideals and extending these ideals to everyday practice as part of fluid and rich identities. These composers went well beyond writing music to militantly organizing events, promoting works, musicological writing, and teaching.
