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Over the course of three decades, Modern Music and After has earned its place as the standard work on the processes of musical renewal that began in 1945. It is essential reading for the enquiring listener, and is used widely in university and conservatory courses.
Over the course of three decades, Modern Music and After has earned its place as the standard work on the processes of musical renewal that began in 1945. It is essential reading for the enquiring listener, and is used widely in university and conservatory courses.
Über den Autor
Paul Griffiths is an acclaimed writer on contemporary and classical music whose books include A Concise History of Western Music and The Penguin Companion to Classical Music. He is a frequent contributor to The New Yorker and has written the libretto for Elliott Carter's What Next? as well as three novels. In 2002, Griffiths was honored by the French government as a Chevalier de l'Ordre des Arts et des Lettres.
Inhaltsverzeichnis
- Prelude
- 1.: Rational and irrational: western Europe, 1945-50
- Paris, 1945-8 - The young Boulez - Boulez's Second Piano Sonata - Other stories - Musique concrète - Variations: Nono
- 2.: Silencing music: Cage, 1946-52
- Rhythmic structuring - Towards silence - Around Cage
- 3.: Total organization: western Europe, 1949-54
- The moment of total serialism 1: Darmstadt 1949 and Darmstadt 1951 - Interlude: the patrons of modernism - The moment of total serialism 2: Paris 1952 - The human voice 1: Nono - Electronic music - The human voice 2: Barraqué
- 4.: Classic modernism and other kinds: the United States, 1945-55
- Schoenberg - Carter - Babbitt - Home-made music - Wolpe - After silence
- 5.: The Cold War
- 6.: Extension and development: western Europe, 1953-6
- From points to groups - Systems of organization - Le Marteau sans maître - Sound and word - ...how time passes... - Statistics
- 7.: Mobile form: 1956-61
- Cage - Stockhausen and Boulez - Boulez and Berio - Barraqué - Exit from the labyrinth
- 8.: Elder responses
- Stravinsky - Messiaen - Varèse - Symphonists and others
- 9.: Reappraisal and disintegration: 1959-64
- Questioning voices: Ligeti, Bussotti, Kagel - Stumbling steps: Kurtág - Listening ears: Cage, Young, Babbitt - Exploiting the moment: Stockhausen - The last concert: Nono
- 10.: Of elsewhen and elsewhere
- The distant past - (The imaginary past) - The distant or not so distant east - Quotation - Meta-music
- 11.: Music theatre
- Opera and 'Opera' - Music theatre - Instrumental theatre
- 12.: Politics
- Cardew - Rzewski - The composer in the factory
- 13.: Virtuosity and improvisation
- The virtuoso - Virtuosity in question - The electric musician - Improvisation
- 14.: Orchestras or Computers
- Ochestras - Computer Music
- 15.: Minimalism and melody
- New York minimalism - Minimalism in Europe - Melody
- 16.: Ending
- 17.: Holy Minimalisms
- Pärt - Tavener and Górecki - (Messiaen) - Ustvolskaya
- 18.: New Romanticisms
- Rihm - Schnittke, and the hectic present - Gubaidulina, and the visionary future - Silvestrov, and the reverberating past - Symphony? - Feldman and loss - Lachenmann and regain
- 19.: New Simplicities
- Cage, or innocence - Denyer, or outsiderness - Kurtág, or immediacy - Holliger, or extremity - Sciarrino, or intimacy
- 20.: New Complexities
- Ferneyhough - Finnissy - Charged solos
- 21.: Old Complexities
- Carter and the poets - Xenakis and the Arditti Quartet - Nono and listening - Stockhausen and Licht - Birtwistle and ritual - Berio and memory - IRCAM and Boulez
- 22.: Spectralisms
- Radulescu and Tenney - Grisey - Vivier
- 23.: (Unholy?) Minimalisms
- Reich - Andriessen
- 24.: Eclecticisms
- Kagel et al. - Donatoni - Bolcom and Adams - Ligeti
- 25.: . Towards mode/meme
- Rootless routes: Ligeti - Memory's memorials: Berio and Kurtág - Remade modes: Adams, Adès, Benjamin - Pesson's past and Pauset's - Traditions' tracks: around Zorn
- 26.: Towards the strange self
- Act I: Schneewittchen - Entr'acte: Kurtág's Beckett - Act II: Luci mie traditrici - Entr'acte: Birtwistle's Celan - Act III: Three Sisters - Entr'acte: Kyburz's no-one - Act IV: Das Mädchen mit den Schwefelhölzern
- 27.: Towards transcendence
- Gubaidulina and Christ - Haas and darkness - Harvey and the Buddha - Grisey and rebirth
- 28.: Towards change?
- Resources
- Index
Details
| Erscheinungsjahr: | 2011 |
|---|---|
| Genre: | Importe, Musik |
| Rubrik: | Kunst & Musik |
| Thema: | Musikgeschichte |
| Medium: | Taschenbuch |
| ISBN-13: | 9780199740505 |
| ISBN-10: | 019974050X |
| Sprache: | Englisch |
| Einband: | Kartoniert / Broschiert |
| Autor: | Griffiths, Paul |
| Hersteller: | Oxford University Press |
| Verantwortliche Person für die EU: | Libri GmbH, Europaallee 1, D-36244 Bad Hersfeld, gpsr@libri.de |
| Maße: | 234 x 156 x 28 mm |
| Von/Mit: | Paul Griffiths |
| Erscheinungsdatum: | 01.02.2011 |
| Gewicht: | 0,804 kg |
Über den Autor
Paul Griffiths is an acclaimed writer on contemporary and classical music whose books include A Concise History of Western Music and The Penguin Companion to Classical Music. He is a frequent contributor to The New Yorker and has written the libretto for Elliott Carter's What Next? as well as three novels. In 2002, Griffiths was honored by the French government as a Chevalier de l'Ordre des Arts et des Lettres.
Inhaltsverzeichnis
- Prelude
- 1.: Rational and irrational: western Europe, 1945-50
- Paris, 1945-8 - The young Boulez - Boulez's Second Piano Sonata - Other stories - Musique concrète - Variations: Nono
- 2.: Silencing music: Cage, 1946-52
- Rhythmic structuring - Towards silence - Around Cage
- 3.: Total organization: western Europe, 1949-54
- The moment of total serialism 1: Darmstadt 1949 and Darmstadt 1951 - Interlude: the patrons of modernism - The moment of total serialism 2: Paris 1952 - The human voice 1: Nono - Electronic music - The human voice 2: Barraqué
- 4.: Classic modernism and other kinds: the United States, 1945-55
- Schoenberg - Carter - Babbitt - Home-made music - Wolpe - After silence
- 5.: The Cold War
- 6.: Extension and development: western Europe, 1953-6
- From points to groups - Systems of organization - Le Marteau sans maître - Sound and word - ...how time passes... - Statistics
- 7.: Mobile form: 1956-61
- Cage - Stockhausen and Boulez - Boulez and Berio - Barraqué - Exit from the labyrinth
- 8.: Elder responses
- Stravinsky - Messiaen - Varèse - Symphonists and others
- 9.: Reappraisal and disintegration: 1959-64
- Questioning voices: Ligeti, Bussotti, Kagel - Stumbling steps: Kurtág - Listening ears: Cage, Young, Babbitt - Exploiting the moment: Stockhausen - The last concert: Nono
- 10.: Of elsewhen and elsewhere
- The distant past - (The imaginary past) - The distant or not so distant east - Quotation - Meta-music
- 11.: Music theatre
- Opera and 'Opera' - Music theatre - Instrumental theatre
- 12.: Politics
- Cardew - Rzewski - The composer in the factory
- 13.: Virtuosity and improvisation
- The virtuoso - Virtuosity in question - The electric musician - Improvisation
- 14.: Orchestras or Computers
- Ochestras - Computer Music
- 15.: Minimalism and melody
- New York minimalism - Minimalism in Europe - Melody
- 16.: Ending
- 17.: Holy Minimalisms
- Pärt - Tavener and Górecki - (Messiaen) - Ustvolskaya
- 18.: New Romanticisms
- Rihm - Schnittke, and the hectic present - Gubaidulina, and the visionary future - Silvestrov, and the reverberating past - Symphony? - Feldman and loss - Lachenmann and regain
- 19.: New Simplicities
- Cage, or innocence - Denyer, or outsiderness - Kurtág, or immediacy - Holliger, or extremity - Sciarrino, or intimacy
- 20.: New Complexities
- Ferneyhough - Finnissy - Charged solos
- 21.: Old Complexities
- Carter and the poets - Xenakis and the Arditti Quartet - Nono and listening - Stockhausen and Licht - Birtwistle and ritual - Berio and memory - IRCAM and Boulez
- 22.: Spectralisms
- Radulescu and Tenney - Grisey - Vivier
- 23.: (Unholy?) Minimalisms
- Reich - Andriessen
- 24.: Eclecticisms
- Kagel et al. - Donatoni - Bolcom and Adams - Ligeti
- 25.: . Towards mode/meme
- Rootless routes: Ligeti - Memory's memorials: Berio and Kurtág - Remade modes: Adams, Adès, Benjamin - Pesson's past and Pauset's - Traditions' tracks: around Zorn
- 26.: Towards the strange self
- Act I: Schneewittchen - Entr'acte: Kurtág's Beckett - Act II: Luci mie traditrici - Entr'acte: Birtwistle's Celan - Act III: Three Sisters - Entr'acte: Kyburz's no-one - Act IV: Das Mädchen mit den Schwefelhölzern
- 27.: Towards transcendence
- Gubaidulina and Christ - Haas and darkness - Harvey and the Buddha - Grisey and rebirth
- 28.: Towards change?
- Resources
- Index
Details
| Erscheinungsjahr: | 2011 |
|---|---|
| Genre: | Importe, Musik |
| Rubrik: | Kunst & Musik |
| Thema: | Musikgeschichte |
| Medium: | Taschenbuch |
| ISBN-13: | 9780199740505 |
| ISBN-10: | 019974050X |
| Sprache: | Englisch |
| Einband: | Kartoniert / Broschiert |
| Autor: | Griffiths, Paul |
| Hersteller: | Oxford University Press |
| Verantwortliche Person für die EU: | Libri GmbH, Europaallee 1, D-36244 Bad Hersfeld, gpsr@libri.de |
| Maße: | 234 x 156 x 28 mm |
| Von/Mit: | Paul Griffiths |
| Erscheinungsdatum: | 01.02.2011 |
| Gewicht: | 0,804 kg |
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