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005 20141212081629.0;

008 891004s1990 cauag b s001 0 eng ;

010 a| 89020436;

020 a| 0520069919 (alk. paper);

035 a| (Sirsi) o20526372;

035 a| (OCoLC)20526372;

040 a| DLCc| DLCd| EREd| UtOrBLW;

049 a| EREM;

050 00 a| ML410.P2925b| A3 1990;

082 0 a| 780/.922| 20;

100 1 a| Perle, George,d| 1915-2009.=| ^A31188;

245 14 a| The listening composer /c| George Perle.;

300 a| 202 pages :b| illustrations, music ;c| 25 cm.;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

490 1 a| Ernest Bloch lectures;

504 a| Includes bibliographical references and index.;

520 a| The author takes us into the composer's workshop as he reevaluates what we call "twentieth-century music"--a term used to refer to new or modern or contemporary music that represents a radical break from the tonal tradition, or "common practice," of the preceding three centuries. He proposes that this music, in the course of breaking with the tonal tradition, presents coherent and definable elements of a new tradition. In spite of the disparity in their styles, idioms, and compositional methods, he argues, what unites Scriabin, Stravinsky, Bartok, and the Viennese circle (Schoenberg, Berg, and Webern) is more important than what separates them. If we are to understand the connections among these mainstream composers, we also have to understand their connections with the past. Through an extraordinarily comprehensive analysis of a single piece by Varese, Density 21.5 for unaccompanied flute, Perle shows how these composers refer not only to their contemporaries but also to Wagner, Debussy, and Beethoven. Perle isolates the years 1909-10 as the moment of revolutionary transformation in the foundational premises of our musical language. He asks: What are the implications of this revolution, not only for the composer, but also for the listener? What are the consequences for the theory and teaching of music today? In his highly original answers, Perle relates the role of intuition in the listening experience to its role in the compositional process. Perle asserts that the post-Schoenbergian serialists have preoccupied themselves with secondary and superficial aspects of Schoenberg's twelve-tone method that have led it to a dead end but he also exposes the speciousness of current alternatives such as chance music, minimalism, and the so-called return to tonality. He offers a new and more comprehensive definition of "twelve-tone music" and firmly rejects the notion that accessibility to the new music is reserved for a special class of elite listeners.;

600 10 a| Perle, George,d| 1915-2009x| Criticism and interpretation.=| ^A31188;

650 0 a| Musicy| 20th centuryx| History and criticism.=| ^A147357;

830 0 a| Ernest Bloch lectures.=| ^A19935;

919 a| BOOK;

596 a| 3;

998 a| 374700;

999 a| ML410.P2925 A3 1990w| LCc| 1i| 30372005682957d| 6/22/2016e| 11/18/2013f| 4/2/2025g| 4l| MCSm| JMUSICn| 2r| Ys| Yt| MCSSBKu| 2/5/1991x| BOOKz| MCIRCo| .STAFF. enhanced 7/22/22 -jjab;

The listening composer / George Perle.

Author/creator	Perle, George
Format	Book
Publication Info	Berkeley : University of California Press, ©1990.
Description	202 pages : illustrations, music ; 25 cm.
Subjects	Perle, George, 1915-2009--Criticism and interpretation. Music--20th century. --History and criticism.

Series	Ernest Bloch lectures Ernest Bloch lectures. ^A19935
Contents	Turning screws and slicing apples -- The Martian musicologists -- "Windows of order" -- Pitches or pitch-classes? -- Composing with symmetries -- Tonal oder atonal?
Abstract	The author takes us into the composer's workshop as he reevaluates what we call "twentieth-century music"--a term used to refer to new or modern or contemporary music that represents a radical break from the tonal tradition, or "common practice," of the preceding three centuries. He proposes that this music, in the course of breaking with the tonal tradition, presents coherent and definable elements of a new tradition. In spite of the disparity in their styles, idioms, and compositional methods, he argues, what unites Scriabin, Stravinsky, Bartok, and the Viennese circle (Schoenberg, Berg, and Webern) is more important than what separates them. If we are to understand the connections among these mainstream composers, we also have to understand their connections with the past. Through an extraordinarily comprehensive analysis of a single piece by Varese, Density 21.5 for unaccompanied flute, Perle shows how these composers refer not only to their contemporaries but also to Wagner, Debussy, and Beethoven. Perle isolates the years 1909-10 as the moment of revolutionary transformation in the foundational premises of our musical language. He asks: What are the implications of this revolution, not only for the composer, but also for the listener? What are the consequences for the theory and teaching of music today? In his highly original answers, Perle relates the role of intuition in the listening experience to its role in the compositional process. Perle asserts that the post-Schoenbergian serialists have preoccupied themselves with secondary and superficial aspects of Schoenberg's twelve-tone method that have led it to a dead end but he also exposes the speciousness of current alternatives such as chance music, minimalism, and the so-called return to tonality. He offers a new and more comprehensive definition of "twelve-tone music" and firmly rejects the notion that accessibility to the new music is reserved for a special class of elite listeners.
Bibliography note	Includes bibliographical references and index.
LCCN	89020436
ISBN	0520069919 (alk. paper)

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Library	Location	Call Number	Status	Item Actions
Music	Closed Stacks - Ask at Circulation Desk	ML410.P2925 A3 1990	✔ Available	Place Hold

The listening composer / George Perle.

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