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Concepts of Time in Post-War European Music gives a historical and philosophical account of the discussions of the nature of time and music during the mid-twentieth century.
Concepts of Time in Post-War European Music gives a historical and philosophical account of the discussions of the nature of time and music during the mid-twentieth century.
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Aaron Hayes is an independent scholar who teaches music in Northern Idaho. He completed his PhD in music at Stony Brook University in New York, 2016.
Inhaltsangabe
1. Introduction 2. Analysis: Anton Webern, Concerto Op. 24, m. 38-40 3. Duration and eternity: Messiaen's time categories 4. Analysis: Olivier Messiaen, 'Ile de Feu I' from Quatre Études de rythme 5. Continuity: Boulez's smooth time and its mathematical negotiations 6. Analysis: Pierre Boulez, Improvisations sur Mallarmé II-'Une dentelle s'abolit' 7. The unity of time: Stockhausen's engagement with acoustics 8. Analysis: Karlheinz Stockhausen, Zeitmaße 9. Trauma: Goeyvaerts and Adorno on musical stasis 10. Analysis: Karel Goeyvaerts, Sonata for two pianos, movements II-III 11. Spacetime: Xenakis and the end of the discourse on musical time 12. Analysis: Iannis Xenakis, Nomos Alpha
1. Introduction 2. Analysis: Anton Webern, Concerto Op. 24, m. 38-40 3. Duration and eternity: Messiaen's time categories 4. Analysis: Olivier Messiaen, 'Ile de Feu I' from Quatre Études de rythme 5. Continuity: Boulez's smooth time and its mathematical negotiations 6. Analysis: Pierre Boulez, Improvisations sur Mallarmé II-'Une dentelle s'abolit' 7. The unity of time: Stockhausen's engagement with acoustics 8. Analysis: Karlheinz Stockhausen, Zeitmaße 9. Trauma: Goeyvaerts and Adorno on musical stasis 10. Analysis: Karel Goeyvaerts, Sonata for two pianos, movements II-III 11. Spacetime: Xenakis and the end of the discourse on musical time 12. Analysis: Iannis Xenakis, Nomos Alpha
1. Introduction 2. Analysis: Anton Webern, Concerto Op. 24, m. 38-40 3. Duration and eternity: Messiaen's time categories 4. Analysis: Olivier Messiaen, 'Ile de Feu I' from Quatre Études de rythme 5. Continuity: Boulez's smooth time and its mathematical negotiations 6. Analysis: Pierre Boulez, Improvisations sur Mallarmé II-'Une dentelle s'abolit' 7. The unity of time: Stockhausen's engagement with acoustics 8. Analysis: Karlheinz Stockhausen, Zeitmaße 9. Trauma: Goeyvaerts and Adorno on musical stasis 10. Analysis: Karel Goeyvaerts, Sonata for two pianos, movements II-III 11. Spacetime: Xenakis and the end of the discourse on musical time 12. Analysis: Iannis Xenakis, Nomos Alpha
1. Introduction 2. Analysis: Anton Webern, Concerto Op. 24, m. 38-40 3. Duration and eternity: Messiaen's time categories 4. Analysis: Olivier Messiaen, 'Ile de Feu I' from Quatre Études de rythme 5. Continuity: Boulez's smooth time and its mathematical negotiations 6. Analysis: Pierre Boulez, Improvisations sur Mallarmé II-'Une dentelle s'abolit' 7. The unity of time: Stockhausen's engagement with acoustics 8. Analysis: Karlheinz Stockhausen, Zeitmaße 9. Trauma: Goeyvaerts and Adorno on musical stasis 10. Analysis: Karel Goeyvaerts, Sonata for two pianos, movements II-III 11. Spacetime: Xenakis and the end of the discourse on musical time 12. Analysis: Iannis Xenakis, Nomos Alpha
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