The Oxford History of Western Music, Volume 4: Music in the Early 20th Century

Description

The Oxford History of Western Music is a magisterial survey of the traditions of Western music by one of the most prominent and provocative musicologists of our time. This text illuminates, through a representative sampling of masterworks, those themes, styles, and currents that give shape and direction to each musical age. Taking a critical perspective, this text sets the details of music, the chronological sweep of figures, works, and musical ideas, within the larger context of world affairs and cultural history. Written by an authoritative, opinionated, and controversial figure in musicology, The Oxford History of Western Music provides a critical aesthetic position with respect to individual works, a context in which each composition may be evaluated and remembered. Taruskin combines an emphasis on structure and form with a discussion of relevant theoretical concepts in each age, to illustrate how the music itself works, and how contemporaries heard and understood it. It also describes how the context of each stylistic period-key cultural, historical, social, economic, and scientific events-influenced and directed compositional choices. Unlike earlier surveys, Taruskin provides greater attention to the full range of 20th century music, including American music as part of the mainstream tradition of western music, women in music, and popular music. The five volumes of main text each have musical examples and black-and-white pictures throughout, source notes, and an index. The sixth volume contains a comprehensive chronology, further reading, and an index to the entire set. MODERNISM......Page 1 Notes:......Page 7 MAXIMALISM......Page 9 Notes:......Page 10 MAHLER: MAXIMALIZING THE SYMPHONY......Page 12 Notes:......Page 16 IS THERE OR ISN’T THERE? (NOT EVEN THE COMPOSER KNOWS FOR SURE)......Page 18 Notes:......Page 24 HIGH TENSION COMPOSING......Page 26 Notes:......Page 29 HALF-STEPS OVER FIFTHS......Page 31 LYRISCHES INTERMEZZO......Page 36 FOLKLORE FOR CITY FOLK......Page 39 Notes:......Page 42 WHAT THEN?......Page 43 Notes:......Page 52 DECADENCE......Page 53 Notes:......Page 64 STRAUSS: MAXIMALIZING OPERA......Page 66 Notes:......Page 76 CONSUMMATION......Page 77 ANOTHER MADWOMAN......Page 84 Notes:......Page 96 HYSTERIA......Page 97 Notes:......Page 99 DENATURING DESIRE......Page 100 Notes:......Page 116 HALF-STEPLESSNESS......Page 118 Notes:......Page 128 IMPRESSIONISM......Page 130 Notes:......Page 140 SYMBOLISM......Page 141 Notes:......Page 161 MéLODIE......Page 163 Notes:......Page 169 “ESSENTIALLY” (AND INTOLERANTLY) FRENCH......Page 170 Notes:......Page 177 THE EXOTICIZED SELF......Page 179 Notes:......Page 187 THE SENSUAL SURFACE......Page 188 RUSSIAN FANTASY......Page 196 Notes:......Page 205 FEMALE COMPETITION......Page 207 Notes:......Page 215 A MISSING GENRE......Page 217 BALLET D’ACTION......Page 220 Notes:......Page 230 OFF TO RUSSIA......Page 231 Notes:......Page 234 CHAIKOVSKY’S BALLETS......Page 235 Notes:......Page 243 BALLET FINDS ITS THEORIST......Page 245 Notes:......Page 251 BACK TO FRANCE......Page 253 STRAVINSKY......Page 255 Notes:......Page 267 PETRUSHKA......Page 268 Notes:......Page 284 THE RITE OF SPRING......Page 286 Notes:......Page 303 THE NE PLUS ULTRA......Page 304 Notes:......Page 307 THE REACTION......Page 309 Notes:......Page 317 MAXIMALISM REACHES THE MAX......Page 318 Notes:......Page 321 RUSH-TO-THE-PATENT-OFFICE MODERNISM......Page 322 Notes:......Page 328 FROM EXPRESSION TO REVELATION......Page 330 Notes:......Page 343 EXTINGUISHING THE “I”......Page 344 Notes:......Page 347 APPROACHING THE ULTIMATE......Page 349 ECSTASY, AND AFTER......Page 356 Notes:......Page 365 ATONALITY?......Page 366 THE FINAL BURST......Page 375 Notes:......Page 380 A MAXIMALIST AGAINST THE TIDE......Page 382 Notes:......Page 387 “THE CHARM OF IMPOSSIBILITIES”......Page 388 Notes:......Page 397 SO OLD IT’S NEW......Page 398 Notes:......Page 403 THE SUMMA SUMMARUM......Page 405 MAXIMALISM, AMERICAN STYLE......Page 410 Notes:......Page 413 TWO AMERICAN CAREERS......Page 414 Notes:......Page 429 SEXUAL—AND STYLISTIC—POLITICS......Page 431 Notes:......Page 442 TERMS OF RECEPTION......Page 444 Notes:......Page 449 MANNER AND SUBSTANCE......Page 450 Notes:......Page 460 NOSTALGIA......Page 462 Notes:......Page 476 REACHING—AND TRANSCENDING—THE LIMIT......Page 478 Notes:......Page 484 ACCEPTING BOUNDARIES......Page 486 Notes:......Page 494 MORE PATENT-OFFICE MODERNISM......Page 496 Notes:......Page 499 TRANSCENDENTALISM VS. FUTURISM......Page 500 Notes:......Page 515 REJECTING SUCCESS......Page 517 Notes:......Page 522 EXPRESSION BECOMES AN “ISM”......Page 523 Notes:......Page 524 ART AND THE UNCONSCIOUS......Page 526 Notes:......Page 528 “EMANCIPATION OF DISSONANCE”......Page 529 Notes:......Page 531 THEORY AND PRACTICE......Page 533 Notes:......Page 535 ATONALITY?......Page 536 “CONTEXTUALITY”......Page 539 Notes:......Page 542 TONAL OR ATONAL?......Page 544 Notes:......Page 552 A LITTLE “SET THEORY”......Page 554 Notes:......Page 559 GRUNDGESTALT......Page 561 PSYCHOLOGICAL REALISM......Page 563 Notes:......Page 570 ATONAL TRIADS......Page 571 Notes:......Page 575 CROSSING THE CUSP......Page 577 Notes:......Page 582 MUSICAL SPACE......Page 583 Notes:......Page 589 “BRAHMINISM” REVISITED......Page 591 Notes:......Page 595 MAXING OUT......Page 596 AT THE OPPOSITE EXTREME......Page 600 Notes:......Page 608 THE IVORY TOWER......Page 609 Notes:......Page 612 EPILOGUE: HOW MYTHS BECOME HISTORY......Page 613 SCHOENBERG’S BRAHMS......Page 614 Notes:......Page 621 ONTOGENY BECOMES PHYLOGENY......Page 622 Notes:......Page 625 “MOTIVICIZATION” IN PRACTICE......Page 627 Notes:......Page 631 WHAT IS HUNGARIAN?......Page 632 Notes:......Page 644 A CHANGE OF COURSE......Page 645 Notes:......Page 653 A PRECARIOUS SYMBIOSIS......Page 654 Notes:......Page 672 A BIT OF THEORY......Page 673 SYMMETRICAL FUGUE, SYMMETRICAL SONATA......Page 677 Notes:......Page 686 A NEW TONAL SYSTEM?......Page 687 Notes:......Page 713 RETREAT?......Page 715 THE OLDEST TWENTIETH-CENTURY COMPOSER?......Page 719 Notes:......Page 725 SPEECH-TUNELETS......Page 726 Notes:......Page 734 A MUSICO-DRAMATIC LABORATORY......Page 735 Notes:......Page 756 RESEARCH VS. COMMUNICATION......Page 757 Notes:......Page 759 THE “REAL” TWENTIETH CENTURY BEGINS......Page 760 Notes:......Page 762 PASTICHE AS METAPHOR......Page 764 Notes:......Page 773 CRACKING (JOKES) UNDER STRESS......Page 775 Notes:......Page 789 BREAKING WITH TRADITION......Page 791 Notes:......Page 796 THE END OF THE “LONG NINETEENTH CENTURY”......Page 798 Notes:......Page 801 VITAL VS. GEOMETRICAL......Page 803 Notes:......Page 806 SOME MORE TROUBLING POLITICS......Page 807 Notes:......Page 811 AND NOW THE MUSIC......Page 812 Notes:......Page 826 PLUS SOME FAMOUS WORDS ABOUT IT......Page 827 Notes:......Page 834 BREACHING THE FOURTH WALL......Page 836 Notes:......Page 839 ART AS PLAYTHING......Page 841 Notes:......Page 847 A NEW ATTITUDE TOWARD THE “CLASSICS”?......Page 848 “HOW” VS. “WHAT”......Page 856 Notes:......Page 875 PUTTING THINGS “IN QUOTES”......Page 877 Notes:......Page 886 IRONY AND SOCIAL REALITY......Page 888 Notes:......Page 893 “AMERICANISM” AND MEDIA TECHNOLOGY......Page 895 MUSIC FOR POLITICAL ACTION......Page 900 Notes:......Page 910 RIGHTEOUS RENUNCIATION, OR WHAT?......Page 912 Notes:......Page 917 NEW-MORALITY PLAYS......Page 919 Notes:......Page 929 THE DEATH OF OPERA?......Page 930 FROM VIENNA TO HOLLYWOOD......Page 933 A NEW STILE ANTICO?......Page 937 Notes:......Page 950 THE ANTI-PETRUSHKA......Page 952 Notes:......Page 963 “LIFESTYLE MODERNISM”......Page 964 Notes:......Page 971 NAKEDNESS......Page 972 Notes:......Page 979 GENDER BENDING......Page 980 FROM SUBJECT TO STYLE: SURREALIST “CLASSICISM”......Page 983 Notes:......Page 994 GROUPS......Page 995 Notes:......Page 999 FINDING ONESELF......Page 1000 Notes:......Page 1012 AMERICANS IN PARIS, PARISIANS IN AMERICA......Page 1015 Notes:......Page 1037 TRANSGRESSION......Page 1039 Notes:......Page 1055 REDEMPTION......Page 1058 Notes:......Page 1067 “SOCIOSTYLISTICS”......Page 1069 Notes:......Page 1081 THE GREAT AMERICAN SYMPHONY......Page 1083 Notes:......Page 1100 FERMENT ON THE LEFT......Page 1102 Notes:......Page 1114 “TWENTIETH-CENTURY AMERICANISM”......Page 1116 Notes:......Page 1123 PRAIRIE NEONATIONALISM......Page 1125 Notes:......Page 1141 PROGRESS VS. RESTORATION......Page 1143 Notes:......Page 1149 DISCOVERY OR INVENTION?......Page 1151 Notes:......Page 1153 NOMOS (THE LAW)......Page 1154 Notes:......Page 1164 GIVING MUSIC AN AXIOMATIC BASIS......Page 1165 IRONY CLAIMS ITS DUE......Page 1172 Notes:......Page 1184 BACK AGAIN TO BACH......Page 1186 Notes:......Page 1192 CONSOLIDATION......Page 1194 Notes:......Page 1201 SPREAD......Page 1203 Notes:......Page 1217 CLARIFICATION......Page 1218 Notes:......Page 1231 EPITOME......Page 1232 Notes:......Page 1251 MASS POLITICS......Page 1252 Notes:......Page 1260 MUSIC AND MUSIC-MAKING IN THE NEW ITALY......Page 1262 Notes:......Page 1270 DEGENERACY......Page 1272 Notes:......Page 1276 YOUTH CULTURE......Page 1278 Notes:......Page 1292 VARIETIES OF EMIGRATION......Page 1294 Notes:......Page 1301 SHADES OF GRAY......Page 1302 Notes:......Page 1309 SOCIALIST REALISM AND THE SOVIET AVANT-GARDE......Page 1311 Notes:......Page 1319 PROTAGONIST OR VICTIM?......Page 1321 Notes:......Page 1337 READINGS......Page 1339 Notes:......Page 1346