gebrauchsmusik


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ge·brauchs·mu·sik

 (gə-brouKHs′mo͞o-zēk′)
n.
Music composed for a specific use or function.

[German : Gebrauch, use (from gebrauchen, to use, from Middle High German gebrūchen, from Old High German gabrūhhan : ga-, gi-, intensive prefix; see kom in Indo-European roots + brūhhan, to use) + -s-, linking consonant + Musik, music (from Middle High German, from Old High German, from Latin mūsica; see music).]
References in periodicals archive ?
The numerous sacred works Bach prepared for the Hamburg main churches were deliberately designed as liturgical Gebrauchsmusik (utility music) and, therefore, consist largely of arrangements and pasticcios.
With Stravinsky's neoclassicism clearly in his sights, Adorno argued that any preservation of tonality in the modern period betrayed symptoms of the fascist personality, and he tarred Hindemith's Gebrauchsmusik ('music for use') with the brush of Nazi kitsch.
In the classical sphere, this ideology of Gebrauchsmusik even extended to all those live symphonic recordings made in Germany immediately before and during WWII, which today are justly famous and highly sought after by music collectors, mainly for their subterranean frisson.
In Berlin, jazz had by the middle of the decade become what Cornelius Partsch calls a "metropolitan Gebrauchsmusik," reaching its apex with the premier of Berthold Brecht and Kurt Weill's Die Dreigroschenoper, that influential fusion of European art song and African American jazz (Partsch 107; Tischler 190-92).
However, he apparently takes for granted the received notion that both the four- and five-part series must date from before 1630, reflecting Mico's duties as provider of gentle Gebrauchsmusik to the countryfolk.
COMA is the brainchild of a highly innovative organization known as the East London Late Starters Orchestra, which in its ten-year history has developed into a unique amateur ensemble dedicated to open-ended access to music making for all, and an equally strong commitment to contemporary music--combining elements of 1930s Gebrauchsmusik, radical post-war multimedia, and the politically left-leaning, visionary approach of Cornelius Cardew's Scratch Orchestra.
In Between Steel and Ice, he performed this way to an electronic swatch of Gebrauchsmusik (by Darcy Guddat), written to support the already completed choreography.
Finding inspiration in Hindemith's Gebrauchsmusik, Copland responded to this change by composing works for the amateur musician, as seen in the choral work What Do We Plant?
Chapter 7, "Didactic Theater ('Lehrstuck')," which features the didactic Der Lindbergh flag and Der, Jasager, includes a lengthy exploration of the Lehrsdick's religious and secular roots and background information on Gebrauchsmusik (music for use).
Stephen Hinton, following the lead of Wieland Schmied and the British Arts Council exhibition in 1978, cautions against this translation, si nce it fails to acknowledge meanings implied by Sachlichkeit, and favors using this term without translation as occurs in English translations of texts by German authors (The Idea of Gebrauchsmusik, Outstanding Dissertations in Music from British Universities [New York: Garland, 1989], 63 n.
With as many as 46 oratorio Passions, five Passion oratorios and 1,500 other cantata works, the sheer volume of his output has led to the popular belief that much of the music was facile, functional and generally uninspired Gebrauchsmusik.
Bach and Hindemith took Gebrauchsmusik to new heights, but Hinton instead assesses the idea of Hindemith as the Bach of the twentieth century in "Hindemith, Bach, and the Melancholy of Obligation.