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Music in the Twentieth and Twenty-First Centuries [Minkštas viršelis]

3.74/5 (77 ratings by Goodreads)
(Tufts University), Series edited by (Columbia University)
  • Formatas: Paperback / softback, 384 pages, aukštis x plotis x storis: 236x157x25 mm, weight: 652 g
  • Serija: Western Music in Context: A Norton History
  • Išleidimo metai: 25-Jun-2013
  • Leidėjas: WW Norton & Co
  • ISBN-10: 0393929205
  • ISBN-13: 9780393929201
Kitos knygos pagal šią temą:
Music in the Twentieth and Twenty-First CenturiesDidesnis paveikslėlis
  • Formatas: Paperback / softback, 384 pages, aukštis x plotis x storis: 236x157x25 mm, weight: 652 g
  • Serija: Western Music in Context: A Norton History
  • Išleidimo metai: 25-Jun-2013
  • Leidėjas: WW Norton & Co
  • ISBN-10: 0393929205
  • ISBN-13: 9780393929201
Kitos knygos pagal šią temą:
Pastovi nuoroda: https://www.kriso.lt/db/9780393929201.html
Raktažodžiai:
Joseph Auner's Music in the Twentieth and Twenty-First Centuries explores the sense of possibility unleashed by the era's destabilizing military conflicts, social upheavals, and technological advances. Auner shows how the multiplicity of musical styles has called into question traditional assumptions about compositional practice, the boundaries of music and noise, and the relationship among composer, performer, and listener. He also shows how composers and their works have played important roles in defining ideas of nation, race, and gender, and thus in shaping the modern world for better and worse.

Western Music in Context: A Norton History comprises six volumes of moderate length, each written in an engaging style by a recognized expert. Authoritative and current, the series examines music in the broadest sense—as sounds notated, performed, and heard—focusing not only on composers and works, but also on broader social and intellectual currents.


The music of the twentieth and twenty-first centuries in its cultural, social, and intellectual contexts.
Anthology Repertoire xii
Series Editor's Preface xv
Author's Preface xvii
Chapter 1 A Sense of Possibility
1(15)
Tangled Chaos and the Blank Page
2(1)
Modern, Modernism, Modernity
3(2)
Becoming a "Possibilist"
5(1)
New Possibilities and Perspectives
6(5)
For Further Reading
11(5)
PART I From the Turn of the Twentieth Century through World War I
Chapter 2 Expanding Musical Worlds
16(19)
New Inner and Outer Landscapes
17(1)
Modernism, Modernity, and "Systems of Happiness and Balance"
18(3)
Gustav Mahler and the Symphony as World
21(3)
Alma Mahler and the New Woman
24(2)
Debussy, Symbolism, Exoticism, and the Century of Aeroplanes
26(7)
For Further Reading
33(2)
Chapter 3 Making New Musical Languages
35(21)
Atonality, Post-Tonality, and the Emancipation of the Dissonance
36(2)
Busoni's New Aesthetic of Music
38(1)
Futurism and The Art of Noises
39(3)
Strauss and Referential Tonality
42(1)
Skryabin's New Harmonic Structures
43(2)
Schoenberg, Berg, and Webern
45(9)
For Further Reading
54(2)
Chapter 4 Folk Sources, the Primitive, and the Search for Authenticity
56(26)
Locating the Folk
57(1)
Sibelius: Creating Finnishness
58(3)
Ives's America
61(3)
Primitivism and the Folk
64(3)
Bartok and the Search for a Mother Tongue
67(3)
Stravinsky, Russianness, and the Folk Estranged
70(6)
For Further Reading
76(6)
PART II The Interwar Years
Chapter 5 New Music Taking Flight
82(21)
Europe and America after the War
85(5)
Radio, Recording, and Film
90(2)
Music for Use
92(1)
New Instruments, the Sounds of the City, and Machine Art
92(3)
Jazz, Race, and the New Music
95(6)
For Further Reading
101(2)
Chapter 6 Paris, Neoclassicism, and the Art of the Everyday
103(21)
Neoclassicism
105(2)
Musical High Life and Low Life
107(3)
Music and Cultural Politics
110(2)
Antiquity and Ritual
112(2)
Eighteenth-Century Sources
114(1)
Tonality Defamiliarized
115(3)
The Art of the Everyday
118(2)
Jazz and "The Primitive"
120(3)
For Further Reading
123(1)
Chapter 7 The Search for Order and Balance
124(24)
Cultural Politics of the Search for Order
125(2)
The Twelve-Tone Method
127(9)
New Approaches to Rhythm, Texture, and Form
136(6)
New Tonalities
142(4)
For Further Reading
146(2)
Chapter 8 Inventing Traditions
148(24)
Villa-Lobos and Brasilidade
149(4)
Vaughan Williams and "Englishness"
153(3)
The Borders of American Music
156(1)
Copland and the American Landscape
157(4)
Still and the African-American Experience
161(2)
McPhee's Imaginary Homeland in Bali
163(3)
For Further Reading
166(6)
PART III World War II and Its Aftermath
Chapter 9 Rebuilding amid the Ruins
172(18)
Social Transformations
175(1)
Britten's War Requiem
176(5)
Musical Ramifications of the Cold War
181(2)
Shostakovich's String Quartet No. 8
183(6)
For Further Reading
189(1)
Chapter 10 Trajectories of Order and Chance
190(22)
Post World War II Contexts
191(1)
Twelve-Tone Composition after World War II
192(1)
Integral Serialism
193(6)
Chance, Indeterminacy, and the Blank Page
199(12)
For Further Reading
211(1)
Chapter 11 Electronic Music from the Cold War to the Computer Age
212(23)
Music, Science, and Technology in the Cold War
214(3)
Manipulating Sound in the Studio
217(5)
Musique Concrete
222(1)
Notating, Analyzing, and Listening to Electronic Music
223(1)
Synthesizers
224(4)
Computer Music
228(4)
For Further Reading
232(3)
PART IV From the 1960s to the Present
Chapter 12 Texture, Timbre, Loops, and Layers
235(22)
Origins of Texture Music
236(2)
Ligeti's Sonorous Textures and Micropolyphony
238(2)
Textual Approaches in the Music of Stockhausen and Boulez
240(2)
Mathematical Models
242(4)
Timbre and Extended Techniques
246(5)
Composing with Layers
251(4)
For Further Reading
255(2)
Chapter 13 Histories Recollected and Remade
257(21)
The Past in the Present
258(2)
Quotation, Protest, and Social Change
260(6)
Postmodernism
266(6)
Remaking Traditions
272(4)
For Further Reading
276(2)
Chapter 14 Minimalism and Its Repercussions
278(21)
Origins and Locales
280(3)
Minimalist Art and Musical Processes
283(5)
Minimalist Sources
288(5)
Pathways of Postminimalism
293(4)
For Further Reading
297(2)
Chapter 15 Border Crossings
299
Global Encounters
300(1)
Music In-Between
301(1)
Multimedia and Sound Art
302(1)
Music, Science, and Technology
303(1)
Artist and Audience
304(1)
For Further Reading
305
Glossary 1(9)
Endnotes 10(12)
Credits 22(3)
Index 25
Joseph Auner is Chair and Professor of Music at Tufts University. His publications include A Schoenberg Reader, The Cambridge Companion to Schoenberg (with Jennifer Shaw), and Postmodern Music/Postmodern Thought (with Judith Lochhead). A past editor-in-chief of the Journal of the American Musicological Society, Auner is the recipient of grants from the Getty Center for the Arts and Humanities, the National Endowment for the Humanities, and the Alexander von Humboldt Foundation. Walter Frisch is H. Harold Gumm/Harry and Albert von Tilzer Professor of Music at Columbia University. He is the author of numerous books and articles, including Brahms: The Four Symphonies, The Early Works of Arnold Schoenberg 19031908, and German Modernism: Music and the Arts. He is the recipient of two ASCAP-Deems Taylor Awards and fellowships from the National Endowment for the Humanities, the Alexander von Humboldt Foundation, and the Center for Scholars and Writers at the New York Public Library.