| Contents |
Part I. Music to the late 1940s. The Vienna of Freud: toward expressionism and the transformation of chromatic tonality. Mahler, Strauss, Hofmannsthal, and the Vienna of Freud ; Early post-Romantic period of the Vienna Schoenberg circle -- Vienna Schoenberg circle: expressionism and free atonality. Toward expressionism ; Free atonality and principles of atonal organization -- Schoenberg's music societies, World War I, and evolution of the twelve-tone method. Schoenberg's music societies to promote modern music ; Toward the twelve-tone method: nonrepetition and early occurences of twelve-tone groupings ; Beginning of Schoenberg's "Method of composing with twelve tones" ; Schoenberg and the "Twelve-tone trope" ; Schoenberg and semi-combinatoriality ; Background and development of Webern's first serial works ; Webern's twelve-tone serial compositions ; Webern and strict inversional symmetry ; Background and development of Berg's first serial works ; Berg's twelve-tone serial compositions and extra-musical meaning ; Berg's last works -- Musical reactions to the ultra-chromaticism of the Wagner-Strauss period and the rise of new national styles. Development and transformation of diatonic material ; Debussy: symbolism and impressionism in France ; Ravel: impressionism, neoclassicism, and polymodal-octatonic tendencies ; Stravinsky's Russian period works ; The musical language of Stravinsky's Russian ballets - The rite of spring ; Scriabin: late Romanticism and Russian stylistic and technical sources -- Sources of the "New Hungarian art music" and Bartok's move toward modernism. Bartok's first folk-music investigations, discovery fo Debussy, and early compositional results ; Toward synthesis of divergent art- and folk-music sources ; Last stylistic period -- Toward synthesis of divergent folk- and art-music sources in eastern Europe. Hungary: Kodaly ; Czechoslovakia: Janacek ; Poland: Szymanowski ; Other eastern-European composers -- Cultural identity and cosmopolitan developments in northern, western, and southern Europe. Scandinavia: Carl Nielsen, Sibelius, and others ; England: Vaughan Williams and others ; Spain: Granados, Albeniz, and Falla ; Italy: the facist era -- New musical sources and aesthetics in the United States. The emergence of divergent art-music styles in the United States: Griffes, Ives, and others ; Ives: experimental music and Transcendentalism ; "Ultramodern" American composers: Cowell, Ruggles, Crawford Seeger, and others ; Forging a new American musical identity: Copland, Harris, and Thomson ; Piston, Sessions, Hanson, and others -- Search for cultural identity in Latin America. Mexico: Ponce, Chavez, and Revueltas ; Brazil: Villa-Lobos ; Argentina: indigenous influences in Ginastera's early style -- The rise of neoclassicism in France: Cocteau-Satie era and "Les six". Impact of political dictatorship, economic depression, technology, and anti-Romanticism on the development of neoclassicism ; Developments in Paris: Satie's artistic attitudes and musical forms ; Cocteau-Satie era ; Les six and neoclassicism -- Stravinsky in Switzerland and Paris (1914-1939): the neoclassical style. Transformation of the early Russian style ; Permanent exile from Russia (1917) and emergence of neoclassical style ; Toward greater austerity and objectivity -- The "New objectivity," Gebrauchsmusik, and neotonality in Germany. Socio-cultural conditions in Germany after World War I ; Hindemith: expressionistic chromaticism to Gebrauchsmusik ; Collaborators of Brecht: social protest music ; Hindemith's new theoretical and compositional codifications -- The music of Soviet composers and socialist realism. Revolution to early 1930s: era of experimentation ; Prokofiev: from the pre-revolutionary works to the early 1930s ; Shostakovich: Soviet works of the 1920s ; Socialist realism from the early 1930s to early 1950s: Prokofiev, Shostakovich, Kabalevsky, Khachaturian -- New sonorities based on density, color, and noise. Klangfarbenmelodien ; Harmony as color or texture: tone clusters and percussion in notated music ; Noise and percussion in nonnotated music ; Invention of new instruments -- Beyond the second Viennese school: early developments of twelve-tone serialism. Dissemination of the twelve-tone idiom ; Foreign pupils of Schoenberg and Webern ; Vienna: Krenek's extensions of twelve-tone serialism ; Twelve-tone infusion into basically tonal structures ; Dallapiccola: protest music and the twelve-tone system -- |
| Contents |
Part II. Music since the mid-1940s. Total serialization in Europe. Darmstadt and "Webernism" ; Total serialization of all parameters ; Beyond pointillism: higher levels of serialization ; Lyricism and personal expression in the context of tonal serialism -- Serial and nonserial approaches to interval-sets in the United States. Babbitt as theorist and "Schoenbergite" ; Contrasting postwar aesthetic approaches to serial composition: organic development (Sessions) versus block construction (Stravinsky and Copland) ; Individual philosophical and aesthetic assumptions underlying atonal and twleve-tone conceptions: Wolpe and Carter ; More recent uses of interval sets and fusion with traditional elements: Wuorinen, Rorem, Krote, and Welcher -- Twelve-tone tonality. Toward a new concept of tonality ; Evolution of the tone row ; Early manifestations of the interval cycle and inversional symmetry ; The cyclic set ; The early works of Perle ; More recent works of Perle -- Musique concrete and electronic music. Musique concrete without tape in Paris ; Musique concrete with tape in Paris ; Musique concrete in Sao Paulo, Brazil ; First postwar electronic developments in Europe: Cologne ; Electronic studio in Milan ; Electronic music in Paris, Brussels, and the Netherlands ; Tape recorder music, synthesizers, and computers in the United States ; State of electronic research in the late twentieth century -- Aleatory - chance, improvisation, open form - and minimalist music. Pioneers of chance operations in the United States: Ives, Cowell, and Cage ; Aleatoric composers of the "New York school" ; Groups devoted to a music of random sounds and actions ; Darmstadt: toward indeterminacy ; Other European composers of aleatory ; Minimal or "Systematic" music since the early 1960s: Young, Riley, Reich, and Glass -- Continuation and synthesis of national characteristics and other earlier trends in Europe. General trends in various countries ; Western Europe: England (Britten) and Scotland (Musgrave) ; Central, eastern, and northern Europe -- Continuation and synthesis of national characteristics and other earlier trends in the United States. Early postwar generation: Schuman, Crumb, Barber, Talma, and others ; More recent generation: Adams, Corgliano, Zwilich, and others ; Multiple syntheses of earlier styles -- Latin-American composers at home and abroad: continuation and synthesis of national characteristics and other earlier trends. Latin-American composers at home ; Ginastera's stylistic evolution ; Non-twleve-tone sets and Brazilian folk elements in the music of Nobre ; Latin-American composers in the United States: De la Vega, Gonzalez, and others -- Synthesis of east and west in Eastern Asia. Chinese art music: 1911 revolution, cultural revolution, and more modern times - Chen, Sheng, and others ; Toward synthesis and modernization in Japanese music: late twentieth-century reflection in the music of Takemitsu ; Toward synthesis and modernization in Korean music: late twentieth-century reflection in the music of Yun. |
| Abstract |
This book is an integrated account of the genres and concepts of twentieth-century art music, organized topically according to aesthetic, stylistic, technical, and geographic categories, and set within the larger political, social, economic, and cultural framework. While the organization is topical, it is historical within that framework. Musical issues interwoven with political, cultural, and social conditions have had a significant impact on the course of twentieth-century musical tendencies and styles. The goal of this book is to provide a theoretic-analytical basis that will appeal to those instructors who want to incorporate into student learning an analysis of the musical works that have reflected cultural influences on the major musical phenomena of the twentieth century. Focusing on the wide variety of theoretical issues spawned by twentieth-century music, this book reflects the theoretical/analytical essence of musical structure and design. |
| Bibliography note | Includes bibliographical references and index. |
| LCCN | 2012050786 |
| ISBN | 9780415881876 (hardback) |
| ISBN | 0415881870 (hardback) |
