Deze serie duikt in muziek en muzikaal leven vanaf het einde van de 19e eeuw tot heden. Het omvat historische en biografische studies gericht op de context van compositie, naast analytische werken die muzikale taal en compositieprocessen verkennen. Er wordt nadruk gelegd op de omstandigheden rondom muziekcreatie, inclusief mecenaat, publicatiepraktijken en het muzikale leven van diverse naties. De collectie biedt een alomvattend perspectief op de evolutie van moderne muziek.
Prokofiev's last four operas are major works of his career in the Soviet Union, yet the original versions remain unfamiliar since they exist only in manuscript form. This book offers bold new interpretations, draws on a wide range of primary and secondary sources, and includes comparisons with works of literature, film, and theatre.
The first full-length English-language discussion of the Darmstadt New Music Courses, showing the rise and fall of the 'Darmstadt School'.
Including articles, essays, letters, broadcasts and interviews, some previously unpublished, this volume brings together more than seventy written and spoken-word sources to illuminate the life and work of the composer Peter Maxwell Davies. This book will appeal to music specialists and others interested in British post-war culture.
An unprecedented exploration of Stravinsky's use of the piano as the genesis of all his music - Russian, neoclassical and serial.
Jack Boss presents detailed analyses of Arnold Schoenberg's twelve-tone pieces, bringing the composer's 'musical idea' - problem, elaboration, solution - to life.
„Und die neue Musik sollte in diesem Sinn eigentlich eine Musik sein, die sich für eine neue Gesellschaft eignet.“ – Der amerikanische Komponist Christian Wolff brachte damit in der Mitte der 1970er Jahre auf den Punkt, was linksintellektuelle Musiker, Komponisten und Musikschriftsteller seit 1968 leitete. Die Studenten- und Protestbewegungen der 1960er Jahre hatten einen Wandel in Bewegung gesetzt, der sich nicht nur in veränderten Lebensstilen und Geschlechterrollen, ökologischem Bewusstsein und neuer Pädagogik niederschlug, sondern auch die Kultur und Kunst in entscheidendem Maße prägte. Wie die Kulturform Musik an dem gesamtgesellschaftlichen Umbau beteiligt war, zeigt ein spartenübergreifender Querschnitt: Rock, Avantgarde und Klassik. „Musikkulturen in der Revolte“ arbeitet heraus, wie und bis zu welchem Grad ‚1968’ musikalische Institutionen veränderte, die kompositionstechnische Entwicklung der Avantgardemusik beeinflusste und die Genese der alten Musikszene mit auf den Weg brachte – und dabei selber am Umbau der Gesellschaft und Kultur Europas und Nordamerikas mitwirkte.
The book offers a groundbreaking analysis of Igor Stravinsky's innovative use of the piano, highlighting its pivotal role in the development of his diverse musical styles, including Russian, neoclassical, and serial compositions. By examining the piano's influence on Stravinsky's creative process, the work uncovers the intricate connections between his piano works and his broader musical output, providing fresh insights into his artistic evolution and the significance of the piano in his oeuvre.
This book explores the historical-cultural interactions between French concert music and American jazz across 1900-65, from both perspectives.
John Cage is best known for his indeterminate music, which leaves a significant level of creative decision-making in the hands of the performer. But how much licence did Cage allow? Martin Iddon's book is the first volume to collect the complete extant correspondence between the composer and pianist David Tudor, one of Cage's most provocative and significant musical collaborators. The book presents their partnership from working together in New York in the early 1950s, through periods on tour in Europe, until the late stages of their work from the 1960s onwards, carried out almost exclusively within the frame of the Merce Cunningham Dance Company. Tackling the question of how much creative flexibility Tudor was granted, Iddon includes detailed examples of the ways in which Tudor realised Cage's work, especially focusing on Music of Changes to Variations II, to show how composer and pianist influenced one another's methods and styles.
Alastair Williams argues that the social transformations of 1968 led to a new phase of art music in Germany.
David Cline provides a detailed analysis of Morton Feldman's groundbreaking graph music and its considerable impact upon the development of post-war classical music. This book highlights the influence of contemporary art on Feldman's works and explores his relationships with Earle Brown, John Cage, Christian Wolff and David Tudor.
A performer's perspective on Reich's compositions which explores the techniques developed by musicians to bring his compositions to life.
The 'prequel' to Schoenberg's Twelve-Tone Music (Cambridge, 2014), this book demonstrates that the term 'atonal' is effective in describing Schoenberg's music from 1908-21. Written for music scholars, performers and conductors, it features detailed analyses that will help them understand the core logic of some of the most difficult pieces of music.
Tracing the history of musical modernism in Italy from the fin de siecle to the Cold War, this book follows the work of Luigi Dallapiccola, the leading Italian composer of the mid-twentieth century, as he moved from support for the fascist regime to a committed resistance to totalitarianism.
The first in-depth historical analysis of British art music post-1945, providing a group-portrait of eleven composers ranging from avant-garde to pop.
Focusing on a groundbreaking partnership, the book explores the dynamic relationship between composer John Cage and pianist David Tudor, highlighting their innovative contributions to 20th-century music. It delves into their collaborative works, artistic philosophies, and the impact they had on contemporary music, revealing how their unique interplay challenged traditional musical norms and inspired future generations of musicians.
Marilyn Nonken finds precedent in the works of pianist-composers Liszt, Scriabin and Debussy for spectral attitudes towards the musical experience.
Thomas Schuttenhelm's book presents an investigation into Michael Tippett's creative process and a comprehensive critical commentary on his orchestral music.
A definitive source study of the stage works of Harrison Birtwistle, one of Britain's foremost living composers.
The correspondence between John Cage and Peter Yates represents the final part of Cage's three most significant exchanges of letters. Cage argued 'composing's one thing, performing's another, listening's a third': in this exchange he engages directly with the last part of that triad of musical... číst celé