Eclecticism in music

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Eclecticism is used to describe a composer's conscious use of styles alien to his nature, or from one or more historical styles. The term is also used pejoratively to describe music whose composer, thought to be lacking originality, appears to have freely drawn on other models (Kennedy and Bourne 2006).

Eclecticism plays an important role in critical discussions and evaluations but is somehow distant from the actual forms of the artefacts to which it is applied, and its meaning is thus rather indistinct.^{[citation needed]} The simplest definition of eclecticism is that every work of art represents the combination of a variety of influences^{[cite this quote]}—is so basic as to be of little use. In this point of view every piece of music can be considered eclectic, because little music is based on its own. Eclecticism in music can consist of a combination of musical styles/genres, poetry and/or philosophy.^{[citation needed]}

The modern trend towards eclecticism started in the 20th-century with the interplay of Jazz and classical (George Gershwin, Igor Stravinsky, Leonard Bernstein, Darius Milhaud) and has continued to grow in the 21st century with the ever-increasing number of genres and influences.^{[citation needed]}

See also

Experimental music

External links

• WeirdMusic.net- E-zine dedicated to Eclectic,Weird Indie Music

Sources

• Kennedy, Michael, and Joyce Bourne (eds.). 2006. "Eclecticism", in The Oxford Dictionary of Music. Oxford and New York: Oxford University Press.

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