A History of Twentieth-century Music in a Theoretic-analytical Context

Description

An integrated account of the genres and concepts of twentieth-century art music, organized topically according to aesthetic, stylistic, technical, and geographic categories, and set within the larger political, social, economic, and cultural framework Cover Title Page Copyright Page Dedication Table of Contents Preface Acknowledgments PART I Music to the Late 1940s 1. The Vienna of Freud: Toward Expressionism and the Transformation of Chromatic Tonality Mahler, Strauss, Hofmannsthal, and the Vienna of Freud Early Post-Romantic Period of the Vienna Schoenberg Circle Notes Suggested Reading 2. Vienna Schoenberg Circle: Expressionism and Free Atonality Toward Expressionism Free Atonality and Principles of Atonal Organization Notes Suggested Reading 3. Schoenberg’s Music Societies, World War I, and Evolution of the Twelve-Tone Method Schoenberg’s Music Societies to Promote Modern Music Toward the Twelve-Tone Method: Nonrepetition and Early Occurrences of Twelve-Tone Groupings Beginning of Schoenberg’s “Method of Composing with Twelve Tones” Schoenberg and the “Twelve-Tone Trope” Schoenberg and Semi-Combinatoriality Background and Development of Webern’s First Serial Works Webern’s Twelve-Tone Serial Compositions Webern and Strict Inversional Symmetry Background and Development of Berg’s First Serial Works Berg’s Twelve-Tone Serial Compositions and Extra-Musical Meaning Berg’s Last Works Notes Suggested Reading 4. Musical Reactions to the Ultra-Chromaticism of the Wagner–Strauss Period and the Rise of New National Styles Development and Transformation of Diatonic Material Debussy: Symbolism and Impressionism in France Ravel: Impressionism, Neoclassicism, and Polymodal-Octatonic Tendencies Stravinsky’s Russian Period Works The Musical Language of Stravinsky’s Russian Ballets—The Rite of Spring Scriabin: Late Romanticism and Russian Stylistic and Technical Sources Notes Suggested Reading 5. Sources of the “New Hungarian Art Music” and Bartók’s Move toward Modernism Bartók’s First Folk-Music Investigations, Discovery of Debussy, and Early Compositional Results (1905 through World War I) Toward Synthesis of Divergent Art- and Folk-Music Sources Last Stylistic Period (1926–1945) Notes Suggested Reading 6. Toward Synthesis of Divergent Folk- and Art-Music Sources in Eastern Europe Hungary: Kodály Czechoslovakia: Janáček Poland: Szymanowski Other Eastern-European Composers Notes Suggested Reading 7. Cultural Identity and Cosmopolitan Developments in Northern, Western, and Southern Europe Scandinavia: Carl Nielsen, Sibelius, and Others England: Vaughan Williams and Others Spain: Granados, Albéniz, and Falla Italy: The Fascist Era Notes Suggested Reading 8. New Musical Sources and Aesthetics in the United States The Emergence of Divergent Art-Music Styles in the United States: Griffes, Ives, and Others Ives: Experimental Music and Transcendentalism “Ultramodern” American Composers: Cowell, Ruggles, Crawford Seeger, and Others Forging a New American Musical Identity: Copland, Harris, and Thomson Piston, Sessions, Hanson, and Others Notes Suggested Reading 9. Search for Cultural Identity in Latin America Mexico: Ponce, Chávez, and Revueltas Brazil: Villa-Lobos Argentina: Indigenous Influences in Ginastera’s Early Style Notes Suggested Reading 10. Rise of Neoclassicism in France: Cocteau–Satie Era and “Les Six” Impact of Political Dictatorship, Economic Depression, Technology, and Anti-Romanticism on the Development of Neoclassicism Developments in Paris: Satie’s Artistic Attitudes and Musical Forms Cocteau–Satie Era Les Six and Neoclassicism Notes Suggested Reading 11. Stravinsky in Switzerland and Paris (1914–1939): The Neoclassical Style Transformation of the Early Russian Style Permanent Exile from Russia (1917) and Emergence of the Neoclassical Style Toward Greater Austerity and Objectivity Notes Suggested Reading 12. The “New Objectivity,” Gebrauchsmusik, and Neotonality in Germany Socio-Cultural Conditions in Germany after World War I Hindemith: Expressionistic Chromaticism to Gebrauchsmusik Collaborators of Brecht: Social Protest in Music Hindemith’s New Theoretical and Compositional Codifications Notes Suggested Reading 13. The Music of Soviet Composers and Socialist Realism Revolution to Early 1930s: Era of Experimentation Prokofiev: From the Pre-Revolutionary Works to the Early 1930s Shostakovich: Soviet Works of the 1920s Socialist Realism from the Early 1930s to Early 1950s: Prokofiev, Shostakovich, Kabalevsky, Khachaturian Notes Suggested Reading 14. New Sonorities Based on Density, Color, and Noise Klangfarbenmelodien Harmony as Color or Texture: Tone Clusters and Percussion in Notated Music Noise and Percussion in Nonnotated Music Invention of New Instruments Notes Suggested Reading 15. Beyond the Second Viennese School: Early Developments of Twelve-Tone Serialism Dissemination of the Twelve-Tone Idiom Foreign Pupils of Schoenberg and Webern Vienna: Krenek’s Extensions of Twelve-Tone Serialism Twelve-Tone Infusion into Basically Tonal Structures Dallapiccola: Protest Music and the Twelve-Tone System Notes Suggested Reading PART II Music Since the Mid-1940s 16. Total Serialization in Europe Darmstadt and “Webernism” Total Serialization of All Parameters Beyond Pointillism: Higher Levels of Serialization Lyricism and Personal Expression in the Context of Total Serialism Notes Suggested Reading 17. Serial and Nonserial Approaches to Interval-Sets in the United States Babbitt As Theorist and “Schoenbergite” Contrasting Postwar Aesthetic Approaches to Serial Composition: Organic Development (Sessions) versus Block Construction (Stravinsky and Copland) Individual Philosophical and Aesthetic Assumptions Underlying Atonal and Twelve-Tone Conceptions: Wolpe and Carter More Recent Uses of Interval Sets and Fusion with Traditional Elements: Wuorinen, Rorem, Korte, and Welcher Notes Suggested Reading 18. Twelve-Tone Tonality Toward a New Concept of Tonality Evolution of the Tone Row Early Manifestations of the Interval Cycle and Inversional Symmetry The Cyclic Set The Early Works of Perle More Recent Works of Perle Notes Suggested Reading 19. Musique Concrète and Electronic Music Musique Concrète without Tape in Paris Musique Concrète with Tape in Paris Musique Concrète in São Paulo, Brazil First Postwar Electronic Developments in Europe: Cologne Electronic Studio in Milan Electronic Music in Paris, Brussels, and the Netherlands Tape Recorder Music, Synthesizers, and Computers in the United States State of Electronic Research in the Late Twentieth Century Notes Suggested Reading 20. Aleatory—Chance, Improvisation, Open Form—and Minimalist Music Pioneers of Chance Operations in the United States: Ives, Cowell, and Cage Aleatoric Composers of the “New York School” Groups Devoted to a Music of Random Sounds and Actions Darmstadt: Toward Indeterminacy Other European Composers of Aleatory Minimal or “Systematic” Music Since the Early 1960s: Young, Riley, Reich, and Glass Notes Suggested Reading 21. Continuation and Synthesis of National Characteristics and Other Earlier Trends in Europe General Trends in Various Countries Western Europe: England (Britten) and Scotland (Musgrave) Central, Eastern, and Northern Europe Notes Suggested Reading 22. Continuation and Synthesis of National Characteristics and Other Earlier Trends in the United States Early Postwar Generation: Schuman, Crumb, Barber, Talma, and Others More Recent Generation: Adams, Corigliano, Zwilich, and Others Multiple Syntheses of Earlier Styles: Tower Notes Suggested Reading 23. Latin-American Composers at Home and Abroad: Continuation and Synthesis of National Characteristics and Other Earlier Trends Latin-American Composers at Home Ginastera’s Stylistic Evolution Non-Twelve-Tone Sets and Brazilian Folk Elements in the Music of Nobre Latin-American Composers in the United States: De la Vega, González, and Others Notes Suggested Reading 24. Synthesis of East and West in Eastern Asia Chinese Art Music: 1911 Revolution, Cultural Revolution, and More Modern Times—Chen, Sheng, and Others Toward Synthesis and Modernization in Japanese Music: Late Twentieth-Century Reflection in the Music of Takemitsu Toward Synthesis and Modernization in Korean Music: Late Twentieth-Century Reflection in the Music of Yun Notes Suggested Reading Credits Index