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  • Jann Pasler


(1) The term is used to refer to the return to emotional expression associated with 19th-century Romanticism. In 1923 Schloezer used it to contrast Schoenberg's expressiveness with Stravinsky's neo-classicism. In works such as Hindemith's Mathis der Maler (1934–5), ‘neo-romantic’ refers to the composer's return to tonality as a structural and expressive element. In the 1940s, composers such as those of La Jeune France conceptualized their music as neo-romantic to suggest a rupture with modernist tendencies. As Baudrier put it, they wished to ‘create a new language … based on no classicism, no pre-existent structures’. They addressed ‘aesthetic problems from the social rather than individual perspective’....

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Perspectives of New Music
Revue musicale
Contemporary Music Review