The Dvorak is a heartwarming example of Gebrauchsmusik
, gently attuned to the pastoral setting of the country church for which it was commissioned, but in fact somewhat monotonous in its textures.
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.
He believed in music for use, which he called "Gebrauchsmusik
." He wrote music for going to the john and everything else.
Under the impression of wartime events he wrote so-called "vaterlandische Gebrauchsmusik
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?