Where the River Bends: The Cologne School in Retrospect
Fox, Christopher, Musical Times
ATTACHING LABELS to art and artists is a difficult exercise. Critics, and perhaps audiences too, like labels because they provide a short-cut to understanding; artists tend to resist them because they imply a shortage of that most marketable asset, individuality. Few artists respond well to comparisons of their work with that of other artists, but there are historical instances where labels can also be a way of acknowledging that at a particular time and in a particular place something new and important occurred and that this was, in some sense, a collective aesthetic achievement. It seems to me that the music produced by a group of young composers in Cologne between the mid-1970s and the ā¦
The rest of this article is only available to active members of Questia
Sign up now for a free, 1-day trial and receive full access to:
- Questia's entire collection
- Automatic bibliography creation
- More helpful research tools like notes, citations, and highlights
- Ad-free environment
Already a member? Log in now.
Questia, a part of Gale, Cengage Learning. www.questia.com
Publication information:
Article title: Where the River Bends: The Cologne School in Retrospect.
Contributors: Fox, Christopher - Author.
Magazine title: Musical Times.
Volume: 148.
Issue: 1901
Publication date: Winter 2007.
Page number: 27+.
© Musical Times Publications, Ltd. Autumn 2008.
Provided by ProQuest LLC. All Rights Reserved.
This material is protected by copyright and, with the exception of fair use, may not be further copied, distributed or transmitted in any form or by any means.
- Georgia
- Arial
- Times New Roman
- Verdana
- Courier/monospaced
Reset