“All music is not always appropriate for all ages. The music industry takes seriously its responsibility to help parents determine what is and is not appropriate for their children. That’s why the record companies created the Parental Advisory Label Program. This program is a tool to help parents make the choice about when ? and whether ? their children should be able to listen to a particular recording. Music can be a tremendous tool in fostering dialogue and understanding across generations. Through music, parents or other adults can tune into what kids are thinking and feeling. We need to pay attention to the music children choose and ask questions: why do they like a certain song or album? What do they think the artist is saying? When these opportunities to talk openly are seized, parents, kids AND music are best served.”
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Today, to the extent that we think at all about the turn-of-the-century hit parade, we regard it as prehistoric: quaint old music, redolent of ill-tuned pianos and gas-lit Rialtos, that was swept aside by grittier sounds, by the triumphal rise of jazz and rock ’n’ roll. If we listen closely to “I Love, I Love, I Love My Wife—But Oh! You Kid!” we may hear a surprising lesson: that the culture-quaking shocks, the salaciousness and transgression we associate with blues and jazz and rock and hip-hop, first arrived in American pop many years earlier. There is more than a nostalgia trip in this 105-year-old opéra bouffe about an adulterous husband and wife.
A revised paperback edition of composer George Rochberg's landmark essays "Rochberg presents the rare spectacle of a composer who has made his peace with tradition while maintaining a strikingly individual profile. . . . [H]e succeeds in transforming the sublime concepts of traditional music into contemporary language." ---Washington Post "An indispensable book for anyone who wishes to understand the sad and curious fate of music in the twentieth century." ---Atlantic Monthly "The writings of George Rochberg stand as a pinnacle from which our past and future can be viewed." ---Kansas City Star As a composer, George Rochberg has played a leading role in bringing about a transformation of contemporary music through a reassessment of its relation to tonality, melody, and harmony. In The Aesthetics of Survival, the author addresses the legacy of modernism in music and its related effect on the cultural milieu, particularly its overemphasis on the abstract, rationalist thinking embraced by contemporary science, technology, and philosophy. Rochberg argues for the renewal of holistic values in order to ensure the survival of music as a humanly expressive art. A renowned composer, thinker, and teacher, George Rochberg has been honored with innumerable awards, including, most recently, an Alfred I. du Pont Award for Outstanding Conductors and Composers, and an André and Clara Mertens Contemporary Composer Award. He lives in Pennsylvania.
At the center of the music labeling controversy, the P.M.R.C., "feels that current levels of violence, racism, brutality towards women, drug and alcohol glamorization in music, lyrics, videos and stage shows need to be addressed through public discussion and debate"(Hull 23).
Am I the only one who finds this image eerily familiar? Am I wrong to imagine that we are looking at a turn-of-the-century version of the mods, the Deadheads, the breakdance crew? Who could doubt that it was these four, or their spiritual cousins, who defaced the seminary chapel at Princeton? And who can deny the rock-star charisma of the young woman second from the left, with her scarf knotted like a necktie, and a glower worthy of Chrissie Hynde? Her gaze, implacable and sphinxlike, feels like a taunt—a reminder of how little we know, how much we’ve forgotten, about our musical past. But there’s at least one clear message in that hard, cool stare: In 1909, as in 1966, as in 2013,
Von Tilzer was most famous for the ballads he composed in the 1890s and first years of the new century. The songwriter himself was unsentimental and ironic, but he had a knack for the kind of music, lavishly drizzled with schmaltz, that was feasted on by late-Victorian audiences: extravagant chromaticism bolstering lyrics about roses in bloom and sweethearts in the gloaming and old folks at home, and morbidly moralistic stories of dead babies, sainted mothers, and ruined womanhood. The biggest blockbuster of Von Tilzer’s career was the tremulous “” (1900), which wagged a finger at a pretty girl stuck in a marriage to an old coot.