Avant-garde can refer to radical or innovative classical music, psychedelia and neo-psychedelia, noise, jazz, electronic music, or music that is simply unclassifiable.
Serialism is a method or technique of composition (Griffiths 2001, 116) that uses a series of values to manipulate different musical elements. Serialism began primarily with Arnold Schönberg's twelve-tone technique, though his contemporaries were also working to establish serialism as one example of post-tonal thinking (Whittall 2008, 1). The twelve-tone technique orders the 12 notes of the chromatic scale, forming a row or series and providing a unifying basis for a composition's melody, harmony, structural progressions, and variations. Other types of serialism also work with sets, collections of objects, but not necessarily with fixed-order series, and extend the technique to other musical dimensions or "parameters" such as duration, dynamics, and timbre. This is often called integral serialism or total serialism.
Composers such as Arnold Schönberg, Anton Webern, Alban Berg, Karlheinz Stockhausen, Pierre Boulez, Luigi Nono, Milton Babbitt, and Jean Barraqué used serial techniques of one sort or another in much of their music. Other composers such as Béla Bartók, Luciano Berio, Benjamin Britten, Aaron Copland, Olivier Messiaen, Arvo Pärt, Walter Piston, Alfred Schnittke, Dmitri Shostakovich, Igor Stravinsky, and even some jazz composers such as Yusef Lateef and Bill Evans used serial techniques in only some of their compositions or sections of compositions.
Aleatoric music (also aleatory or chance music) is music in which some element of the composition is left to chance, and/or some primary element of the composed work's realization is left to the determination of its performer(s). The term is most often associated with procedures in which the chance element involves a relatively limited number of possibilities. The term became known to European composers through lectures by acoustician Werner Meyer-Eppler at Darmstadt International Summer Courses for New Music in the beginning of the 1950s. According to his definition, "a process is said to be aleatoric [...] if its course is determined in general but depends on chance in detail" (Meyer-Eppler 1957, 55).
Indeterminacy in music, which was first used early in the twentieth century in the music of Charles Ives, and in the 1930s by Henry Cowell and his student John Cage beginning in 1951 (Griffiths 2001), came to refer to (mostly American) music composed by a group of composers that grew up around Cage. This group included members of the so-called New York School: Earle Brown, Morton Feldman and Christian Wolff. Others working in this way included the Scratch Orchestra in the United Kingdom (1968 until the early 1970s) and the Japanese composer Toshi Ichiyanagi (born 1933).
Surrealist music uses unexpected juxtapositions, automaticism, and other surrealist techniques. Discussing Theodor Adorno, Max Paddison (1993, 90) defines surrealist music as that which "juxtaposes its historically devalued fragments in a montage-like manner which enables them to yield up new meanings within a new aesthetic unity," though Lloyd Whitesell says this is Paddison's gloss of the term (Whitesell 2004, 118). Anne LeBaron (2002, 27) cites automatism, including improvisation, and collage as the primary techniques of musical surrealism. According to Whitesell, Paddison quotes Adorno's 1930 essay "Reaktion und Fortschritt" as saying "Insofar as surrealist composing makes use of devalued means, it uses these as devalued means, and wins its form from the 'scandal' produced when the dead suddenly spring up among the living" (Whitesell 2004, 107 and 118n18).
The National Anthem
Radiohead Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Everyone around here
Everyone is so near
It's holding on
It's holding on
Everyone
Everyone is so near
Everyone has got the fear
It's holding on
It's holding on
It's holding on
It's holding on
It's holding on
Radiohead's song "The National Anthem" is a commentary on the anxieties and fears inherent in modern society. The lyrics suggest a feeling of overwhelming claustrophobia as the singer describes that "Everyone around here" is "so near" and has "got the fear." This sense of confinement and paranoia is reinforced musically by the driving, brass-heavy instrumentation that dominates the song. Even the title, "The National Anthem," is a nod to the way in which societal expectations and nationalist rhetoric can create a suffocating sense of obligation.
At its core, "The National Anthem" is a critique of the way in which politics, media, and popular culture can manipulate our emotions and create a sense of helplessness. The repeated phrase "It's holding on" suggests that these forces are oppressive, and that they exert a powerful grip on our lives. At the same time, Radiohead also implies that we are complicit in our own subjugation, as the "fear" that everyone "has got" is both internal and external. We are, in other words, both the victims and the enablers of the societal forces that shape our lives.
Overall, "The National Anthem" is a powerful evocation of the ways in which society can be both comforting and oppressive, both nurturing and suffocating. The song's lyrics and instrumentation work in tandem to create a sense of urgency and dread, and to encourage listeners to question their own roles in the broader social order.
Line by Line Meaning
Everyone
All people are included and affected.
Everyone around here
All people in this specific location.
Everyone is so near
All people are close in proximity.
It's holding on
A force or feeling is exerting control and persisting.
It's holding on
A force or feeling is exerting control and persisting.
Everyone
All people are included and affected.
Everyone is so near
All people are close in proximity.
Everyone has got the fear
All people are experiencing a feeling of distress and anxiety.
It's holding on
A force or feeling is exerting control and persisting.
It's holding on
A force or feeling is exerting control and persisting.
It's holding on
A force or feeling is exerting control and persisting.
Lyrics © Warner Chappell Music, Inc.
Written by: Philip Selway, Jonathan Richard Guy Greenwood, Colin Charles Greenwood, Edward John O'Brien, Thomas Yorke
Lyrics Licensed & Provided by LyricFind
Me me
on No Surprises
The way i interpret the lyrics: ; Once excitement of youthful perspective,, hopes, dreams are broken, into an almost nihilistic acceptance of patterns world, we coast,….. become a part of the dull hum we swore we never would become part of. Time pulls us forward, wears and tears until we accept. Can not fight against the current yet knowing we swore we would never.
no
on Radio Head - no surprises
heylo aaa