If you are a member of an institution with an active account, you may be able to access content in one of the following ways: Get help with access Institutional accessĪccess to content on Oxford Academic is often provided through institutional subscriptions and purchases. In so doing, the essay encourages a re-evaluation of notions of postmodernity as they are applied to music. It is argued that Koehne’s music has much in common aesthetically with the neo-realism that has emerged in literary circles as a counterweight to postmodernism. Like Marc Augé in his promotion of a more anthropologically orientated supermodernity, Lipovetsky is concerned, as is Koehne, with the way we as individuals negotiate the complexities, excesses, paradoxes, and anxieties of twenty-first-century life. Koehne’s approach is to chronicle the vicissitudes of life in what Gilles Lipovetsky argues is today’s hypermodern world. Intellectually, the world that the three works inhabit can no longer be described accurately as postmodern.
Philosophically, Koehne’s creative locus intersects with the idea of the ecstatic quotidian, as articulated by Jennifer Anna Gosetti-Ferencei. 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, or quotidian, and its artistic expression. All download links are available below.This article evaluates the compositional aesthetic of the Yale-educated, Virgil Thomson-trained Australian composer Graeme Koehne (b.
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