Music in the twentieth and twenty-first centuries
Record details
- ISBN: 9780393929201
- ISBN: 0393929205
-
Physical Description:
print
xx, 306, 47 pages : illustrations ; 24 cm. - Edition: First edition.
- Publisher: New York : W.W. Norton and Company, [2013]
Content descriptions
Bibliography, etc. Note: | Includes bibliographical references and index. |
Formatted Contents Note: | Anthology repertoire -- Series editor's preface -- Author's preface -- A sense of possibility. Tangled chaos and the blank page ; Modern, modernism, modernity ; Becoming a "possibilist" ; New possibilities and perspectives ; For further reading -- Part I: From the turn of the twentieth century through World War I. Expanding musical worlds : New inner and outer landscapes ; Modernism, modernity, and "systems of happiness and balance" ; Gustav Mahler and the symphony as world ; Alma Mahler and the new woman ; Debussy, symbolism, exoticism, and the century of aeroplanes ; For further reading -- Making new musical languages : Atonality, post-tonality, and the emancipation of the dissonance ; Busoni's new aesthetic of music ; Futurism and The art of noises ; Strauss and referential tonality ; Skryabin's new harmonic structures ; Schoenberg, Berg, and Webern ; For further reading -- Folk sources, the primitive, and the search for authenticity : Locating the folk ; Sibelius: creating Finnishness ; Ives's America ; Primitivism and the folk ; Bartók and the search for a mother tongue ; Stravinsky, Russianness, and the folk estranged ; For further reading -- Part II: The interwar years. New music taking flight : Europe and America after the War ; Radio, recording, and film ; Music for use ; New instruments, the sounds of the city, and machine art ; Jazz, race, and the new music ; For further reading -- Paris, neoclassicism, and the art of the everyday : Neoclassicism ; Musical high life and low life ; Music and cultural politics ; Antiquity and ritual ; Eighteenth-century sources ; Tonality defamiliarized ; The art of the everyday ; Jazz and "the primitive" ; For further reading -- The search for order and balance : Cultural politics of the search for order ; The twelve-tone method ; New approaches to rhythm, texture, and form ; New tonalities ; For further reading -- Inventing traditions : Villa-Lobos and Brasilidade ; Vaughan Williams and "Englishness" ; The borders of American music ; Copland and the American landscape ; Still and the African-American experience ; McPhee's imaginary homeland in Bali ; For further reading -- Part III: World War II and its aftermath. Rebuilding amid the ruins : Social transformations ; Britten's war requiem ; Musical ramifications of the Cold War ; Shostakovich's string quartet no. 8 ; For further reading -- Trajectories of order and chance : Post-World War II contexts ; Twelve-tone composition after World War II ; Integral serialism ; Chance, indeterminacy, and the blank page ; For further reading -- Electronic music from the Cold War to the computer age : Music, science, and technology in the Cold War ; Manipulating sound in the studio ; Musique concrète ; Notating, analyzing, and listening to electronic music ; Synthesizers ; Computer music ; For further reading -- Part IV: From the 1960s to the present. Texture, timbre, loops, and layers : Origins of texture music ; Ligeti's sonorous textures and micropolyphony ; Textual approaches in the music of Stockhausen and Boulez ; Mathematical models ; Timbre and extended techniques ; Composing with layers ; For further reading -- Histories recollected and remade : The past in the present ; Quotation, protest, and social change ; Postmodernism ; Remaking traditions ; For further reading -- Minimalism and its repercussions : Origins and locales ; Minimalist art and musical processes ; Minimalist sources ; Pathways of postminimalism ; For further reading -- Border crossings : Global encounters ; Music in-between ; Multimedia and sound art ; Music, science, and technology ; Artist and audience ; For further reading. |
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Subject: | Music 20th century History and criticism Music 21st century History and criticism |
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Available copies
- 1 of 1 copy available at Kirtland Community College.
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Location | Call Number / Copy Notes | Barcode | Shelving Location | Status | Due Date |
---|---|---|---|---|---|
Kirtland Community College Library | ML 197 .A96 2013 | 30775305539232 | General Collection | Available | - |
Music in the Twentieth and Twenty-First Centuries : Western Music in Context
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Table of Contents
Music in the Twentieth and Twenty-First Centuries : Western Music in Context
Section | Section Description | Page Number |
---|---|---|
Anthology Repertoire | p. xii | |
Series Editor's Preface | p. xv | |
Author's Preface | p. xvii | |
Chapter 1 | A Sense of Possibility | p. 1 |
Tangled Chaos and the Blank Page | p. 2 | |
Modern, Modernism, Modernity | p. 3 | |
Becoming a "Possibilist" | p. 5 | |
New Possibilities and Perspectives | p. 6 | |
For Further Reading | p. 11 | |
Part I | From the Turn of the Twentieth Century through World War I | |
Chapter 2 | Expanding Musical Worlds | p. 16 |
New Inner and Outer Landscapes | p. 17 | |
Modernism, Modernity, and "Systems of Happiness and Balance" | p. 18 | |
Gustav Mahler and the Symphony as World | p. 21 | |
Alma Mahler and the New Woman | p. 24 | |
Debussy, Symbolism, Exoticism, and the Century of Aeroplanes | p. 26 | |
For Further Reading | p. 33 | |
Chapter 3 | Making New Musical Languages | p. 35 |
Atonality, Post-Tonality, and the Emancipation of the Dissonance | p. 36 | |
Busoni's New Aesthetic of Music | p. 38 | |
Futurism and The Art of Noises | p. 39 | |
Strauss and Referential Tonality | p. 42 | |
Skryabin's New Harmonic Structures | p. 43 | |
Sehoenberg, Berg, and Webern | p. 45 | |
For Further Reading | p. 54 | |
Chapter 4 | Folk Sources, the Primitive, and the Search for Authenticity | p. 56 |
Locating the Folk | p. 57 | |
Sibelius: Creating Finnishness | p. 58 | |
Ives's America | p. 61 | |
Primitivism and the Folk | p. 64 | |
Bartók and the Search for a Mother Tongue | p. 67 | |
Stravinsky, Russianness, and the Folk Estranged | p. 70 | |
For Further Reading | p. 76 | |
Part II | The Interwar Years | |
Chapter 5 | New Music Taking Flight | p. 82 |
Europe and America after the War | p. 85 | |
Radio, Recording, and Film | p. 90 | |
Music for Use | p. 92 | |
New Instruments, the Sounds of the City, and Machine Art | p. 92 | |
Jazz, Race, and the New Music | p. 95 | |
For Further Reading | p. 101 | |
Chapter 6 | Paris, Neoclassicism, and the Art of the Everyday | p. 103 |
Neoclassicism | p. 105 | |
Musical High Life and Low Life | p. 107 | |
Music and Cultural Politics | p. 110 | |
Antiquity and Ritual | p. 112 | |
Eighteenth-Century Sources | p. 114 | |
Tonality Defamiliarized | p. 115 | |
The Art of the Everyday | p. 118 | |
Jazz and "The Primitive" | p. 120 | |
For Further Reading | p. 123 | |
Chapter 7 | The Search for Order and Balance | p. 124 |
Cultural Politics of the Search for Order | p. 125 | |
The Twelve-Tone Method | p. 127 | |
New Approaches to Rhythm, Texture, and Form | p. 136 | |
New Tonalities | p. 142 | |
For Further Reading | p. 146 | |
Chapter 8 | Inventing Traditions | p. 148 |
Villa-Lobos and Brasilidade | p. 149 | |
Vaughan Williams and "Englishness" | p. 153 | |
The Borders of American Music | p. 156 | |
Copland and the American Landscape | p. 157 | |
Still and the African-American Experience | p. 161 | |
McPhee's Imaginary Homeland in Bah | p. 163 | |
For Further Reading | p. 166 | |
Part III | World War II and Its Aftermath | |
Chapter 9 | Rebuilding amid the Ruins | p. 172 |
Social Transformations | p. 175 | |
Britten's War Requiem | p. 176 | |
Musical Ramifications of the Cold War | p. 181 | |
Shostakovich's String Quartet No. 8 | p. 183 | |
For Further Reading | p. 189 | |
Chapter 10 | Trajectories of Order and Chance | p. 190 |
Post-World War II Contexts | p. 191 | |
Twelve-Tone Composition after World War II | p. 192 | |
Integral Serialism | p. 193 | |
Chance, Indeterminacy, and the Blank Page | p. 199 | |
For Further Reading | p. 211 | |
Chapter 11 | Electronic Music from the Gold War to the Computer Age | p. 212 |
Music, Science, and Technology in the Cold war | p. 214 | |
Manipulating Sound in the Studio | p. 217 | |
Musique Concrète | p. 222 | |
Notating, Analyzing, and Listening to Electronic Music | p. 223 | |
Synthesizers | p. 224 | |
Computer Music | p. 228 | |
For Further Reading | p. 232 | |
Part IV | From the 1960s to the Present | |
Chapter 12 | Texture, Timbre, Loops, and Layers | p. 235 |
Origins of Texture Music | p. 236 | |
Ligeri's Sonorous Textures and Micropolyphony | p. 238 | |
Textual Approaches in the Music of Stockhausen and Boulez | p. 240 | |
Mathematical Models | p. 242 | |
Timbre and Extended Techniques | p. 246 | |
Composing with Layers | p. 251 | |
For Further Reading | p. 255 | |
Chapter 13 | Histories Recollected and Remade | p. 257 |
The Past in the Present | p. 258 | |
Quotation, Protest, and Social Change | p. 260 | |
Postmodernism | p. 266 | |
Remaking Traditions | p. 272 | |
For Further Reading | p. 276 | |
Chapter 14 | Minimalism and Its Repercussions | p. 278 |
Origins and Locales | p. 280 | |
Minimalist Art and Musical Processes | p. 283 | |
Minimalist Sources | p. 288 | |
Pathways of Postminimalism | p. 293 | |
For Further Reading | p. 297 | |
Chapter 15 | Border Crossings | p. 299 |
Global Encounters | p. 300 | |
Music In-Between | p. 301 | |
Multimedia and Sound Art | p. 302 | |
Music, Science, and Technology | p. 303 | |
Artist and Audience | p. 304 | |
For Further Reading | p. 305 | |
Glossary | p. A1 | |
Endnotes | p. A10 | |
Credits | p. A22 | |
Index | p. A25 |