Music in the Twentieth and Twenty-First Centuries

Music in the Twentieth and Twenty-First Centuries

by Joseph Auner
     
 

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ISBN-10: 0393929205

ISBN-13: 9780393929201

Pub. Date: 04/29/2013

Publisher: Norton, W. W. & Company, Inc.

The music of the twentieth and twenty-first centuries in its cultural, social, and intellectual contexts.
Joseph Auner's Music in the Twentieth and Twenty-First Centuries explores the sense of possibility unleashed by the era's destabilizing military conflicts, social upheavals, and technological advances. Auner shows how the multiplicity of musical styles has

Overview

The music of the twentieth and twenty-first centuries in its cultural, social, and intellectual contexts.
Joseph Auner's Music in the Twentieth and Twenty-First Centuries explores the sense of possibility unleashed by the era's destabilizing military conflicts, social upheavals, and technological advances. Auner shows how the multiplicity of musical styles has called into question traditional assumptions about compositional practice, the boundaries of music and noise, and the relationship among composer, performer, and listener. He also shows how composers and their works have played important roles in defining ideas of nation, race, and gender, and thus in shaping the modern world for better and worse.Western Music in Context: A Norton History comprises six volumes of moderate length, each written in an engaging style by a recognized expert. Authoritative and current, the series examines music in the broadest sense—as sounds notated, performed, and heard—focusing not only on composers and works, but also on broader social and intellectual currents.

Product Details

ISBN-13:
9780393929201
Publisher:
Norton, W. W. & Company, Inc.
Publication date:
04/29/2013
Series:
Western Music in Context: A Norton History Series
Edition description:
New Edition
Pages:
384
Sales rank:
470,065
Product dimensions:
6.10(w) x 9.20(h) x 1.00(d)

Table of Contents

Anthology Repertoire xii

Series Editor's Preface xv

Author's Preface xvii

Chapter 1 A Sense of Possibility 1

Tangled Chaos and the Blank Page 2

Modern, Modernism, Modernity 3

Becoming a "Possibilist" 5

New Possibilities and Perspectives 6

For Further Reading 11

Part I From the Turn of the Twentieth Century through World War I

Chapter 2 Expanding Musical Worlds 16

New Inner and Outer Landscapes 17

Modernism, Modernity, and "Systems of Happiness and Balance" 18

Gustav Mahler and the Symphony as World 21

Alma Mahler and the New Woman 24

Debussy, Symbolism, Exoticism, and the Century of Aeroplanes 26

For Further Reading 33

Chapter 3 Making New Musical Languages 35

Atonality, Post-Tonality, and the Emancipation of the Dissonance 36

Busoni's New Aesthetic of Music 38

Futurism and The Art of Noises 39

Strauss and Referential Tonality 42

Skryabin's New Harmonic Structures 43

Sehoenberg, Berg, and Webern 45

For Further Reading 54

Chapter 4 Folk Sources, the Primitive, and the Search for Authenticity 56

Locating the Folk 57

Sibelius: Creating Finnishness 58

Ives's America 61

Primitivism and the Folk 64

Bartók and the Search for a Mother Tongue 67

Stravinsky, Russianness, and the Folk Estranged 70

For Further Reading 76

Part II The Interwar Years

Chapter 5 New Music Taking Flight 82

Europe and America after the War 85

Radio, Recording, and Film 90

Music for Use 92

New Instruments, the Sounds of the City, and Machine Art 92

Jazz, Race, and the New Music 95

For Further Reading 101

Chapter 6 Paris, Neoclassicism, and the Art of the Everyday 103

Neoclassicism 105

Musical High Life and Low Life 107

Music and Cultural Politics 110

Antiquity and Ritual 112

Eighteenth-Century Sources 114

Tonality Defamiliarized 115

The Art of the Everyday 118

Jazz and "The Primitive" 120

For Further Reading 123

Chapter 7 The Search for Order and Balance 124

Cultural Politics of the Search for Order 125

The Twelve-Tone Method 127

New Approaches to Rhythm, Texture, and Form 136

New Tonalities 142

For Further Reading 146

Chapter 8 Inventing Traditions 148

Villa-Lobos and Brasilidade 149

Vaughan Williams and "Englishness" 153

The Borders of American Music 156

Copland and the American Landscape 157

Still and the African-American Experience 161

McPhee's Imaginary Homeland in Bah 163

For Further Reading 166

Part III World War II and Its Aftermath

Chapter 9 Rebuilding amid the Ruins 172

Social Transformations 175

Britten's War Requiem 176

Musical Ramifications of the Cold War 181

Shostakovich's String Quartet No. 8 183

For Further Reading 189

Chapter 10 Trajectories of Order and Chance 190

Post-World War II Contexts 191

Twelve-Tone Composition after World War II 192

Integral Serialism 193

Chance, Indeterminacy, and the Blank Page 199

For Further Reading 211

Chapter 11 Electronic Music from the Gold War to the Computer Age 212

Music, Science, and Technology in the Cold war 214

Manipulating Sound in the Studio 217

Musique Concrète 222

Notating, Analyzing, and Listening to Electronic Music 223

Synthesizers 224

Computer Music 228

For Further Reading 232

Part IV From the 1960s to the Present

Chapter 12 Texture, Timbre, Loops, and Layers 235

Origins of Texture Music 236

Ligeri's Sonorous Textures and Micropolyphony 238

Textual Approaches in the Music of Stockhausen and Boulez 240

Mathematical Models 242

Timbre and Extended Techniques 246

Composing with Layers 251

For Further Reading 255

Chapter 13 Histories Recollected and Remade 257

The Past in the Present 258

Quotation, Protest, and Social Change 260

Postmodernism 266

Remaking Traditions 272

For Further Reading 276

Chapter 14 Minimalism and Its Repercussions 278

Origins and Locales 280

Minimalist Art and Musical Processes 283

Minimalist Sources 288

Pathways of Postminimalism 293

For Further Reading 297

Chapter 15 Border Crossings 299

Global Encounters 300

Music In-Between 301

Multimedia and Sound Art 302

Music, Science, and Technology 303

Artist and Audience 304

For Further Reading 305

Glossary A1

Endnotes A10

Credits A22

Index A25

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