Our former fellow Genöel von Lilienstern published in the current edition of the Neue Zeitschrift für Musik NZfM the article „Mona Lisa, rasiert - Versuch einer Genealogie des postmodernen Komponierens“. 

Harry Lehmann and Jörn Peter Hiekel think it is beyond debate that the aesthetic postmodernism arose in the early 1960s from protest against the abstract expressionism in the United States. Lehmann speaks of the anomaly of a non-manifestation of an accurate postmodernism within the field of new music. Following Anne LeBaron’s approach, which states that musical postmodernism seizes on and continues with artistic techniques from surrealism, shows the coherent image of an independent tradition in music, which established in converging and diverging trajectories to modernism. In order to understand this development, it is not advisable to concentrate exclusively on a small part of European art music: compositions with postmodern characteristics developed on different radical levels and in different musical vanguards.

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