Modernism is key to Western art music yet remains poorly understood. This book offers new perspectives on transformations in recent composition, performance and musical thought. It recasts modernism as a whole, revealing both its connections to tradition and its contemporary vitality.
Modernism is key to Western art music yet remains poorly understood. This book offers new perspectives on transformations in recent composition, performance and musical thought. It recasts modernism as a whole, revealing both its connections to tradition and its contemporary vitality.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Introduction Julian Johnson and Erling E. Guldbrandsen; Part I. Rethinking Modernism: 1. The lure of the sublime: revisiting the modernist project Susan McClary; 2. Return of the repressed: particularity in early and late modernism Julian Johnson; 3. Expressionism revisited: modernism beyond the twentieth century Arnold Whittall; 4. Erik Bergman, cosmopolitanism and the transformation of musical geography Björn Heile; 5. Sharing a stage: the growing proximity between modernism and popular music David Metzer; Part II. Rewriting Modernism: 6. Ritual and Eros in James Dillon's Come live with me Michael Cherlin; 7. Montage in modernity: scattered fragments, dynamic fragments Jean-Paul Olive; 8. Transformations of appearance: suddenness and the modernist fragment Marion Hestholm; 9. Rethinking Boulez: schemes, logics and paradigms of musical modernity Edward Campbell; 10. Remembrance and prognosis in the music of György Ligeti Peter Edwards; 11. Valentin Silvestrov and the symphonic monument in ruins Samuel Wilson; Part III. Replaying Modernism: 12. Playing with transformations: Boulez's Improvisation III sur Mallarmé Erling E. Guldbrandsen; 13. Performance as critique Arnulf Christian Mattes; 14. 'Unwrapping' the voice: Cathy Berberian and John Cage's Aria Francesca Placanica; 15. Radically idiomatic instrumental practice in works by Brian Ferneyhough Anders Førisdal; 16. The ethics of performance practice in complex music after 1945 Tanja Orning.
Introduction Julian Johnson and Erling E. Guldbrandsen; Part I. Rethinking Modernism: 1. The lure of the sublime: revisiting the modernist project Susan McClary; 2. Return of the repressed: particularity in early and late modernism Julian Johnson; 3. Expressionism revisited: modernism beyond the twentieth century Arnold Whittall; 4. Erik Bergman, cosmopolitanism and the transformation of musical geography Björn Heile; 5. Sharing a stage: the growing proximity between modernism and popular music David Metzer; Part II. Rewriting Modernism: 6. Ritual and Eros in James Dillon's Come live with me Michael Cherlin; 7. Montage in modernity: scattered fragments, dynamic fragments Jean-Paul Olive; 8. Transformations of appearance: suddenness and the modernist fragment Marion Hestholm; 9. Rethinking Boulez: schemes, logics and paradigms of musical modernity Edward Campbell; 10. Remembrance and prognosis in the music of György Ligeti Peter Edwards; 11. Valentin Silvestrov and the symphonic monument in ruins Samuel Wilson; Part III. Replaying Modernism: 12. Playing with transformations: Boulez's Improvisation III sur Mallarmé Erling E. Guldbrandsen; 13. Performance as critique Arnulf Christian Mattes; 14. 'Unwrapping' the voice: Cathy Berberian and John Cage's Aria Francesca Placanica; 15. Radically idiomatic instrumental practice in works by Brian Ferneyhough Anders Førisdal; 16. The ethics of performance practice in complex music after 1945 Tanja Orning.
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