Modernism and music: an anthology of sources
Gespeichert in:
| Weitere Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Chicago ; London
The University of Chicago Press
[2004]
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | Literaturverzeichnis Seite 411-414 |
| Beschreibung: | VIII, 428 Seiten Illustrationen |
| ISBN: | 0226012670 9780226012674 0226012662 |
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| adam_text | modernism and Music
AN ANTHOLOGY OF SOURCES
Edited and with Commentary by Daniel Albright
The University of Chicago Press CHICAGO AND LONDON
Contents
List of Illustrations ix
Acknowledgments xi
1 Introduction 1
Arnold Schoenberg, from The Future of the Opera (1927) 15
Sergei Prokofiev, from From My Life (1944) 20
2 Testing the Boundaries between Speech and Music 23
Harry Partch, from Genesis of a Music (1949) 30
Arnold Schoenberg, Foreword to Pierrot Lunaire (1912) 38
Arnold Schoenberg, The Relationship to the Text (1912) 39
Alban Berg, Voice in Opera (1929) 43
James Joyce, from Sirens (1922) 45
Virginia Woolf, from The Waves (1931) 49
T S Eliot, from The Music of Poetry (1942) 52
Carl Nielsen, from Words, Music, and Program Music (1925) 55
Paul Hindemith, from A Composer s World (1949-50) 60
3 Testing the Boundaries between the Visual Arts and Music 64
PAINTING AND ARCHITECTURE 64
Arnold Schoenberg, from Harmomelehre (1911) 66
George Antheil, Letter to Nicolas Slonimsky (1936) 71
George Antheil, Composer s Notes on 1952-53 Re-Editing [of Ballet Mecanique]
(i953) 7i
Theodor Adorno, from Philosophy of Modern Music (1948) 72
Morton Feldman, [Time-canvas] (1983) 80
Iannis Xenakis, from Formalized Music (1971) 82
EMBODYING PHYSICAL MOVEMENT: BALLET AND FILM 84
Emile Jaques-Dalcroze, The Technique of Moving Plastic (1922) 86
Hanns Eisler, from Composing for the Films (1947) 93
VI CONTENTS
4 The New Music Theater 103
Friedrich Nietzsche, from The Birth of Tragedy (1872) 108
Hugo von Hofmannsthal, Letter to Richard Strauss (1911) 114
Kurt Weill, Shifts in Musical Composition (1927) 117
Kurt Weill, Opera—Where To? (1929) 120
Alban Berg, The Problem of Opera (1928) 124
Ernst Krenek, from Is Opera Still Possible Today? (1936) 127
W H Auden, from The World of Opera (1967) 134
5 Fuller Universes of Music 137
ABOLISHING THE OLD RULES 137
Claude Debussy, from Monsieur Croche antidilettante (1901) 139
Ferruccio Busoni, from Sketch of a New Esthetic of Music (1907) 141
Max Reger, Degeneration and Regeneration in Music (1907) 148
Charles Ives, from Essays before a Sonata (1920) 157
Charles Ives, from Postface to 114 Songs (1922) 159
Charles Ives, Music and Its Future (1929) 159
Percy Grainger, Free Music (1938) 165
PANTONALITY 167
Arnold Schoenberg and Vassily Kandinsky, Correspondence (1911) 169
NOISE 172
Luigi Russolo, The Art of Noises: Futurist Manifesto (1913) 177
Edgard Varese, Music and the Times (1936) 185
John Cage, Fragments from Silence (1961) 190
6 New Discipline: The Twelve-Tone Method 193
Arnold Schoenberg, from Composition with Twelve Tones: [fiat lux] (1941) 194
Anton Webern, from The Path to Twelve-Note Composition (1932) 202
Thomas Mann, from Dr Faustus (1947) 216
Arthur Honegger, [The Twelve-Tone Method] (1951) 222
Leonard Bernstein, [The Twelve-Tone Method] (1976) 222
Benjamin Britten, [The Twelve-Tone Method] (1963) 223
CONTENTS Vll
7 Isms 224
SYMBOLISM 226
Charles Baudelaire, from Richard Wagner and Tannhauser in Paris (1861) 229
Marcel Proust, from Swann s Way (1913) 231
PRIMITIVISM AND EXOTICISM 234
Igor Stravinsky, What I Wished to Express in The Consecration of Spring
(1913) 237
Igor Stravinsky, from An Autobiography (1934) 239
Bela Bart6k, The Influence of Peasant Music on Modern Music (1931) 244
EXPRESSIONISM 251
Richard Wagner, Beethoven (1870) 255
Oskar Kokoschka, Murderer, Hope of Women (1907,1917) 265
Arnold Schoenberg, from Diegluckliche Hand (1910-13): [brain-storm] 271
Theodor Adorno, from Philosophy of Modern Music (1948) 272
NEOCLASSICISM AND THE NEW OBJECTIVITY 276
Rainer Maria Rilke, Sonnets to Orpheus 1 3 (1922) 280
Igor Stravinsky, from An Autobiography (1936) 282
Igor Stravinsky and Robert Craft, from Expositions and Developments [Expressivity]
(1962) 283
Igor Stravinsky and Robert Craft, from Expositions and Developments [Puldnella]
(1962) 284
Igor Stravinsky and Robert Craft, from Dialogues (1968) 286
Igor Stravinsky and Robert Craft, from Themes and Conclusions (1969) 288
Arnold Schoenberg, from Three Satires (1925) 289
Ernst Krenek, from New Humanity and Old Objectivity (1931) 291
Ernst Krenek, Music and Mathematics (1937) 295
Constant Lambert, The Age of Pastiche (1934) 297
Constant Lambert, [Stravinsky as Pasticheur] (1934) 300
Gertrude Stein, from Lectures in America (1935) 305
Maurice Ravel, Interview: [Ravel s Toys] (1933) 307
Maurice Ravel, Interview: Finding Tunes in Factories (1933) 308
DADAISM AND SURREALISM 309
Kurt Schwitters: Ursonate: Rondo (1921-32) 318
Guillaume Apollinaire, Program Note for Parade (1917) 320
Erik Satie, from Memoirs of an Amnesiac (1912) 322
VU1 CONTENTS
Jean Cocteau, from Cock and Harlequin (1918) 324
Erwin Schulhoff, For General Intelligibility as a Confession (1919) 327
Edith Sitwell, Hornpipe (1922) 329
Ernst Krenek, from What Is Called the New Music, and Why? (1937) 330
8 Music, Social Responsibility, and Politics 337
Hanns Eisler, On Old and New Music (1925) 339
Bertolt Brecht and Peter Suhrkamp, The Modern Theatre Is the Epic Theatre
(1930) 343
Friedrich Hollaender, Munchhausen (1931) 349
Friedrich Hollaender, Cabaret (1932) 351
Paul Hindemith, from A Composer s World (1949-50) 355
Peter Kien, Der Kaiser von Atlantis: Final Scene (1943-44) 360
Arnold Schoenberg, A Survivor from Warsaw (1947) 361
L N Lebedinski, Rayoh The Music Lesson (1957) 364
9 Testing the Boundaries between Popular and High Art 367
Ernest Ansermet, On a Negro Orchestra (1919) 368
Langston Hughes, from The Big Sea (1940) 375
Langston Hughes, Moon-Faced, Starry-Eyed (1946-47) 377
Ivan Goll, The Negroes Are Conquering Europe (1926) 378
Daniel Gregory Mason, from Tune In, America (1931) 381
George Gershwin, The Composer and the Machine Age (1933) 386
George Antheil, The Negro on the Spiral, or A Method of Negro Music
(1934) 390
Gene Krupa and Leonard Bernstein, Has Jazz Influenced the Symphony?
(1947) 398
Elliott Carter, Once Again Swing (1939) 404
Elliott Carter, from The Rhythmic Basis of American Music (1955) 405
Bibliographical Note 409
Credits 411
Index 415
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| spelling | Modernism and music an anthology of sources edited and with commentary by Daniel Albright Chicago ; London The University of Chicago Press [2004] © 2004 VIII, 428 Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier Literaturverzeichnis Seite 411-414 Geschichte 1900-2000 Modernisme (Esthétique) Modernisme (cultuur) gtt Musique - 20e siècle - Histoire et critique Muziek gtt Musik Modernism (Music) Music 20th century History and criticism Neue Musik (DE-588)4428235-7 gnd rswk-swf Moderne (DE-588)4039827-4 gnd rswk-swf (DE-588)4135952-5 Quelle gnd-content Neue Musik (DE-588)4428235-7 s Moderne (DE-588)4039827-4 s DE-604 Albright, Daniel 1945-2015 (DE-588)128600144 edt HEBIS Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=012769087&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
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| title | Modernism and music an anthology of sources |
| title_auth | Modernism and music an anthology of sources |
| title_exact_search | Modernism and music an anthology of sources |
| title_full | Modernism and music an anthology of sources edited and with commentary by Daniel Albright |
| title_fullStr | Modernism and music an anthology of sources edited and with commentary by Daniel Albright |
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| title_short | Modernism and music |
| title_sort | modernism and music an anthology of sources |
| title_sub | an anthology of sources |
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