Yes, it’s true that classical music needs some sort of equivalent to the Guerrilla Girls in the visual arts – and for reasons that extend far beyond feminism. See: http://www.guerrillagirls.com/videos/videos.shtml
Isn’t genuine transgression usually directed to far deeper questions than offending stasis or stodgy social mores? The effects of gimmicky transgression never last that long and wouldn’t produce the larger changes we need in classical music and the arts in general. In fact, gimmicky transgression has already been more than worn out by the pop-music-industrial-complex. I prefer the more substantial forms of transgression represented by works like “Survivor of Warsaw,†“Blue Beard’s Castle,†“Eight Songs for a Mad King,†or “Black Angels,†just to name a few classical music examples. I’m trying to think of more recent examples of genuine transgression in classical music and am coming up with a blank. Maybe Klinghofer?
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Yes, it’s true that classical music needs some sort of equivalent to the Guerrilla Girls in the visual arts – and for reasons that extend far beyond feminism. See:
http://www.guerrillagirls.com/videos/videos.shtml
Isn’t genuine transgression usually directed to far deeper questions than offending stasis or stodgy social mores? The effects of gimmicky transgression never last that long and wouldn’t produce the larger changes we need in classical music and the arts in general. In fact, gimmicky transgression has already been more than worn out by the pop-music-industrial-complex. I prefer the more substantial forms of transgression represented by works like “Survivor of Warsaw,†“Blue Beard’s Castle,†“Eight Songs for a Mad King,†or “Black Angels,†just to name a few classical music examples. I’m trying to think of more recent examples of genuine transgression in classical music and am coming up with a blank. Maybe Klinghofer?