An Ontological Inquiry into the Western Art Composer

Joseph Schlam, Oberlin CollegeFollow

Location

King Building 327

Document Type

Presentation

Start Date

4-29-2016 1:30 PM

End Date

4-29-2016 2:30 PM

Abstract

This paper identifies historical moments foundational to the concept of the Western art music composer as an individual author of fixed musical works. The 17th-century reduction of Renaissance modality into major and minor modes establishes tonal harmony as the composer’s primary source of musical materials. The idolization of Beethoven and the establishment of the Western art canon in the 19th century makes historical context a conscious parameter of the composer’s musical practice. In the 20th century, predominant musical fictions of the Western art canon force restrictive expectations on the composer’s practice, resulting works, and their works’ means of reproduction.

Notes

Session I, Panel 3 - Being, Becoming, and Beats: Meditations On Musical Meanings
Moderator: Ben Geyer, Visiting Instructor of Music Theory

Major

Musical Studies

Advisor(s)

Ellen Sayles, Associate Dean of Studies

Project Mentor(s)

Ben Geyer, Music Theory

April 2016

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Apr 29th, 1:30 PM Apr 29th, 2:30 PM

An Ontological Inquiry into the Western Art Composer

King Building 327

This paper identifies historical moments foundational to the concept of the Western art music composer as an individual author of fixed musical works. The 17th-century reduction of Renaissance modality into major and minor modes establishes tonal harmony as the composer’s primary source of musical materials. The idolization of Beethoven and the establishment of the Western art canon in the 19th century makes historical context a conscious parameter of the composer’s musical practice. In the 20th century, predominant musical fictions of the Western art canon force restrictive expectations on the composer’s practice, resulting works, and their works’ means of reproduction.