coined in the 1920s to describe a kind of new realism in music, in reaction to the emotional intensity of the late ROMANTICS and the EXPRESSIONISM of Schoenberg and Berg.
A doctrine of the Soviet Union, begun in the 1930s, in which all the arts were required to use a realistic approach (as opposed to an abstract or symbolic one) that portrayed socialism in a positive light. In music this meant use of simple, accessible language, centered on MELODY, and patriotic subject matter.
Pertaining to a conception of music as sounds moving through musical space, rather than as the presentation and VARIATION of THEMES or MOTIVES.
Term coined by Edgard Varese for a body of sounds characterized by a particular TIMBRE, register, RHYTHM, or MELODIC gesture, which may remain stable or may be transformed as it recurs.