Tools

LEADER 05646cam a2200385 a 4500

005 20141212121311.0;

008 950317s1995 enkag bk 001 0 eng ;

010 a| 95013369;

020 a| 0198165110 (pbk.);

020 a| 0198165781 (cloth);

035 a| (Sirsi) o32237452;

035 a| (OCoLC)32237452;

049 a| EREM;

050 00 a| ML197b| .G76 1995;

082 00 a| 780/.9/042| 20;

100 1 a| Griffiths, Paul,d| 1947 November 24-e| author.=| ^A311847;

245 10 a| Modern music and after /c| Paul Griffiths.;

246 1 i| Subtitle on cover:a| Directions since 1945;

260 a| Oxford [England] ;a| New York :b| Oxford University Press,c| 1995.;

300 a| xv, 373 pages :b| illustrations, music ;c| 24 cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

500 a| Revised edition of: Modern music: the avant garde since 1945. 1981.;

504 a| Includes bibliographical references (pages 351-362) and index.;

504 a| Includes discography (pages 330-350).;

520 a| This fully revised new edition re-establishes the author's survey as the definitive study of music since the Second World War. The disruptions of the war, and the struggles of the ensuring peace, were reflected in the music of the time: in Pierre Boulez's radical re-forming of compositional technique and in John Cage's move into zen music, in Milton Babbitt's settling of the serial system and in Dmitry Shostakovich's unsettling symphonies, in Karlheinz Stockhausen's development of electronic music and in Luigi Nono's pursuit of the universally human, in Iannis Xenakis's view of music as sounding mathematics and in Luciano Berio's consideration of it as a language. The initiatives of these composers and their contemporaries opened prospects that have continued to unfold. This constant exposition of musical thinking since 1945 has left us with no single history of music. The study accordingly follows several different paths, showing how and why they converge and diverge. In addition to the composers mentioned above, others whose music is discussed includes Steve Reich, Jean Barrqué, Elliott Carter, Olivier Messiaen, Gyorgy Kurtág, Harrison Birtwistle, and Gyorgy Ligeti. Publication and recording details are given for the works of all these composers and many others. For its breadth and wealth of detail, this book will appeal to both the student and the general reader in search of a lively and comprehensive introduction to the music of our time.;

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

700 1 a| Griffiths, Paul,d| 1947 November 24-t| Modern music.=| ^A311847;

596 a| 3;

998 a| 592070;

999 a| ML197 .G76 1995w| LCc| 1i| 30372009386514d| 8/26/2020e| 12/12/2019f| 7/23/2024g| 5l| MCOSm| JMUSICn| 12q| 1r| Ys| Yt| MCOSBKu| 4/15/1996x| BOOKz| MCIRCo| .STAFF. enhanced 11/10/20 -jmusictech;

999 a| ML197 .G76 1995w| LCc| 2i| 30372017615805l| MSTm| JMUSICr| Ys| Yt| MGESBKu| 4/9/2024x| BOOKz| MCIRCo| .STAFF. jjam; added copy 4/24; gift;

Modern music and after / Paul Griffiths.

Author/creator	Griffiths, Paul author.
Other author	Griffiths, Paul, 1947 November 24-
Format	Book
Publication Info	Oxford [England] ; New York : Oxford University Press, 1995.
Description	xv, 373 pages : illustrations, music ; 24 cm
Subjects	Music--20th century. --History and criticism.

Variant title	Subtitle on cover: Directions since 1945
Contents	Beginning again: from 1945 to the early 1960s. Europe I: commencement, 1945-1951. Paris, 1945-1948 ; Boulez's early works ; Second piano sonata ; Char cantatas and the Livre pour quatuor ; Musique concrete ; Variations: Nono -- America I: silencing music, 1945-1952. Rhythmic structuring ; Towards silence -- Europe 2: total organization, 1949-1954. The moment of total serialism 1: Darmstadt 1949 and Darmstadt 1951 ; Interlude: the patrons of modernism ; The moment of total serialsim 2: Paris 1952 ; The human voice I: Nono ; Electronic music ; The human voice 2: Barraque -- America 2: classic modernism. Schoenberg ; Carter ; Babbitt -- Europe 3: achievement, 1953-1957. From points to groups ; Systems of organization ; Le marteau sans maitre ; Sound and word ; ...how time passes... ; Statistics -- America 3: after silence, 1952-1961. The Cage circle ; After silence ; The 1960s: everywhere and nowhere ; Home-made music: Partch and Nancarrow -- Europe 4: mobile form, 1956-1962. Mobile form 1: Stockhausen and Boulez ; Mobile form 2: Boulez and Berio -- Elder responses. Stravinsky ; Messiaen ; Varese ; Wolpe ; Shostakovich and music in eastern Europe -- Europe 5: disintegrations, 1959-1964. Reappraisal: Ligeti ; Music and graphics and theatre: Bussotti and Kagel ; Exploiting the moment: Stockhausen ; The last concert: Nono and Boulez -- Six waves and five masters: the 1960s and 1970s. Of elsewhen and elsewhere. The distant past ; The distant or not so distant east ; Quotation ; Meta-music -- Music theatre. Opera and 'Opera' ; Music theatre ; Instrumental theatre -- Politics. The passion of Cornelius Cardew ; The composer in the factory -- Virtuosity and improvisation. The virtuoso ; Virtuosity in question ; The electric musician ; Improvisation -- Computer music -- Minimalism and melody. New York minimalism ; Melody -- Five masters. Stravinsky and Shostakovich ; Messiaen ; Barraque ; Hopkins -- Many rivers: the 1980s and 1990s. Strings and knots. Iannis Xenakis ; Judith Weir ; Tan Dun ; Karlheinz Stockhausen ; Spectral music ; Sex and sexuality ; Alfred Schnittke ; Giacinto Scelsi ; Scale ; Wolfgang Rihm ; Steve Reich ; Postmodernism ; Arvo Part ; Opera ; Luigi Nono ; Minimalism ; Gyorgy Ligeti ; Gyorgy Kurtag ; Humor ; Heinz Holliger ; Sofya Gubaydulina ; Folk music ; Brian Ferneyhough ; Morton Feldman ; Franco Donatoni ; Dissemination ; Computers ; Complexities ; John Cage ; Pierre Boulez ; Harrison Birtwistle ; Luciano Berio.
Abstract	This fully revised new edition re-establishes the author's survey as the definitive study of music since the Second World War. The disruptions of the war, and the struggles of the ensuring peace, were reflected in the music of the time: in Pierre Boulez's radical re-forming of compositional technique and in John Cage's move into zen music, in Milton Babbitt's settling of the serial system and in Dmitry Shostakovich's unsettling symphonies, in Karlheinz Stockhausen's development of electronic music and in Luigi Nono's pursuit of the universally human, in Iannis Xenakis's view of music as sounding mathematics and in Luciano Berio's consideration of it as a language. The initiatives of these composers and their contemporaries opened prospects that have continued to unfold. This constant exposition of musical thinking since 1945 has left us with no single history of music. The study accordingly follows several different paths, showing how and why they converge and diverge. In addition to the composers mentioned above, others whose music is discussed includes Steve Reich, Jean Barrqué, Elliott Carter, Olivier Messiaen, Gyorgy Kurtág, Harrison Birtwistle, and Gyorgy Ligeti. Publication and recording details are given for the works of all these composers and many others. For its breadth and wealth of detail, this book will appeal to both the student and the general reader in search of a lively and comprehensive introduction to the music of our time.
General note	Revised edition of: Modern music: the avant garde since 1945. 1981.
Bibliography note	Includes bibliographical references (pages 351-362) and index.
Bibliography note	Includes discography (pages 330-350).
LCCN	95013369
ISBN	0198165110 (pbk.)
ISBN	0198165781 (cloth)

Availability

Library	Location	Call Number	Status	Item Actions
Music	Course Reference	ML197 .G76 1995	✔ Available
Music	Music Stacks	ML197 .G76 1995	✔ Available	Place Hold

Modern music and after / Paul Griffiths.

Click here for more information about this title

Availability