Modern Music and After

Description

Cover; Contents; Prelude; 1945; 1. Rational and Irrational: Western Europe, 1945-50; Paris, 1945-48; 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.;Over three decades, Paul Griffiths's survey has remained the definitive study of music since the Second World War; this fully revised and updated edition re-establishes Modern Music and After as the preeminent introduction to the music of our time. The disruptions of the war, and the struggles of the ensuing peace, were reflected in the music of the time: in Pierre Boulez's radical reformation of compositional technique and in John Cage's development of zen music; in Milton Babbitt's settling of the serial system and in Dmitry Shostakovich's unsettling symphonies; in Karlheinz Stockhausen's de. Cover Contents Prelude 1945 1. Rational and Irrational: Western Europe, 1945-50 Paris, 1945-48 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, 1945-55Schoenberg Carter Babbitt Homemade Music Wolpe After Silence 5. The Cold War 6. Extension and Development: Western Europe, 1953-56 From Points to Groups Systems of Organization Le Marteau sans maître Sound and Word ... how time passes . . . Statistics 1956 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, KagelStumbling Steps: Kurtág Listening Ears: Cage, Young, Babbitt Exploiting the Moment: Stockhausen The Last Concert: Nono 1965 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 Orchestras. Computer Music15. Minimalism and Melody New York Minimalism Minimalism in Europe Melody 16. Ending 1975 17. Holy Minimalisms Pärt Górecki and Tavener (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 PoetsXenakis 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. Referencings Kagel, et al. Donatoni Bolcom and Adams Ligeti 1989 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.