Modernism (music)

This website is now officially closed. All topics must be finished, and all character must register on the New Website All ranking exams will be finished and ranked by a seperate proctor, and all money will be reset to $200 for everyone in order to make way for the new currency system, coming soon.

We've been getting a good amount of questions regarding the move and the time skip that the move will created for all characters. So here are a few general questions, along with their answers, and of course feel free to post any more concerns you have here.

Q: What abilities or weapons will we be able to add or expand on?
A: Not a whole lot, honestly. I'd say a few improvements on what you already have, but not by a lot, as well as maybe one or two new techniques. Let's not do a major overhaul, because that would then disrupt your rank, which will not change in the move. As for weapons, …

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Posts : 137 Rep. : 0 Join date : 2011-01-05

The year 1890...lends itself as an obvious point of historical discontinuity....The "breakthrough" Mahler, Strauss and Debussy implying a profound historical transformation....If we were to search for a name to convey the breakaway mood of the 1890s (a mood symbolized musically by the opening bars of Strauss's Don Juan) but without imposing a fictitious unity of style on the age, we could do worse than revert to [the] term "modernism" extending (with some latitude) from the 1890 to the beginnings of our own twentieth-century modern music in 1910....The label "late romanticism"...is a terminological blunder of the first order and ought to be abandoned forthwith. It is absurd to yoke Strauss, Mahler, and the young Schoenberg, composers who represent modernism in the minds of their turn-of-the-century contemporaries, with the self-proclaimed anti-modernist Pfitzner, calling them all "late romantics" in order to supply a veneer of internal unity to an age fraught with stylistic contradictions and conflicts. (Dahlhaus 1989, 334)

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