Defining Trends
Antithetical Art in the Age of Trump : Multiple Approaches to Political Commentary
Paper Presentation in a Themed Session Joan Wines
For centuries, cartoonists and masters of caricature have successfully satirized and skewed the rich, famous, and politically powerful. This paper identifies examples of such work that decidedly affected and molded public opinion and policy. Our research indicates that these traditional modes of protest are failing to effect noteworthy changes in attitude toward Donald Trump’s ambiguous yet forceful agendas—especially in certain segments of the U.S. population. We propose that an alternative photography-based approach may have the potential to elicit more significantly effective responses to the present administration--an approach that is less abrasive, fairer, and less passionate but is, at the same time, subtly and deeply satirical.
Overturning Convention : The Ballet That Defined Surrealsim
Paper Presentation in a Themed Session Lisa A. Fusillo
Throughout history, innovations which initiated cultural movements often began in music, art and/or literature. These trends often lead to new movements such as romanticism, impressionism, expressionism, post-impressionism, modernism. In one particular instance, for one moment in history, ballet was the instigator that sparked the development of new artistic genre that was, from its inception, called surrealism. Celebrating the 100th anniversary of the ballet "Parade", this argument postulates that "Parade" was the first surrealist work of art and defined the surrealist movement. Challenging the accepted convention by art historians that surrealism was founded in 1924 with André Breton’s manifesto and journal, this paper will argue that the collaborative invention in "Parade", produced by Serge Diaghilev's Ballets Russes in 1917, preceded the established/accepted timeline and authorship of the movement. " Parade" was one of the most important and innovative performance art pieces of the 20th century. The sound score included a typewriter, fog horn, and gun shot, and costumes took on visual absurdity with an oversized cardboard horse and twelve-foot high sculptures. The ballet was cornucopia of scenes and characters caught in a visual warp between the everyday life and the subliminal manipulations of logic. Pablo Picasso's cubist costume designs, Erik Satie's quirky musical score, and Léonide Massine's unconventional movement reflected the social and political climate and helped to establish the newest artistic movement. Historical evidence will be provided to support the argument that "Parade" defined the surrealist movement in the arts and made a global impact on the art world.
From Professional to Public Discourse through Neoclassicism
Paper Presentation in a Themed Session Ryan Chow
While seeking to further a lineage from the avant-garde, contemporary composers might be susceptible to committing what Richard Taruskin views as the “poetic fallacy,” fueling primarily inward interests. A greater integration between performers, composers and teachers is increasingly necessary to keep contemporary composition the cornerstone for music education. The fluidity of these fields contributes to a public, as opposed to professional, discourse in music. This paper argues that neoclassicism is a key driving force in enacting this shift to public discourse. Drawing attention to Martha Hyde’s eclectic and dialectical imitation and Harold Bloom’s Anxiety of Influence, it argues that today’s compositions must generate a degree of anachronism for music of the past. This emancipates contemporary composers from the shackles of a pre-existing heritage. The anachronism is generated through a warehouse approach to older styles which can be used at the composer’s disposal. This seeks fresh discourse by avoiding the subordination of one’s music to an older composer or style. By distilling the common threads of Hyde, Bloom and Taruskin, this paper advocates an erosion of an ingrained "museum culture" through a uniquely musical solution, without compromising on the sophistication of musical elements that have withstood the test of time. Notably, the composer’s purpose of highlighting the anachronism, musical or otherwise, invites a public response above and beyond the actual anachronism. Therefore, the neoclassical idiom not only challenges conventional musical associations, it also generalizes musical composition beyond common practice.
