Music in the Western World: a history in documents
Gespeichert in:
| Format: | Buch |
|---|---|
| Sprache: | English |
| Veröffentlicht: |
Australia
Thomson/Schirmer
2008
|
| Ausgabe: | 2. ed. |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | Includes bibliographical references and index |
| Beschreibung: | XIV, 567 S. Ill. 24 cm |
| ISBN: | 053458599X |
Internformat
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| 245 | 1 | 0 | |a Music in the Western World |b a history in documents |c Piero Weiss, Richard Taruskin |
| 250 | |a 2. ed. | ||
| 264 | 1 | |a Australia |b Thomson/Schirmer |c 2008 | |
| 300 | |a XIV, 567 S. |b Ill. |c 24 cm | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 500 | |a Includes bibliographical references and index | ||
| 505 | 8 | |a pt. 1. The heritage of antiquity -- pt. 2. The Middle Ages -- pt. 3. The Renaissance -- pt. 4. The Baroque -- pt. 5. The pre-classical period -- pt. 6. The classical period -- pt. 7. The later nineteenth century: romanticism and other preoccupations -- pt. 8. The twentieth century -- pt. 9. The recent, past, and the present. | |
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| 650 | 4 | |a Music |x History and criticism |x Sources | |
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Datensatz im Suchindex
| _version_ | 1804137208651710464 |
|---|---|
| adam_text | CONTENTS
PREFACE
TO
THE SECOND EDITION
xi
PREFACE
TO THE
FIRST EDITION
xiii
PART ONE
________________________________________
The Heritage of Antiquity
1
1
Orpheus and the Magical Powers of Music (Ovid)
1
2
Pythagoras and the Numerical Properties of Music (Nicomachus)
2
3
Plato s Musical Idealism
5
4
Aristotle on the Purposes of Music
8
5
The Kinship of Music and Rhetoric (Quintilian)
10
6
Music in Temple and Synagogue: The Judaic Heritage
(Bible, Pliilo of Alexandria)
12
7
Music in the Christian Churches of Jerusalem,
с
A.D. 400
(Egeria)
17
PART TWO
________________________________________
The Middle Ages
21
8
The Church Fathers on Psalmody and on the Dangers
of Unholy Music (St. Basil, St. John Chrysostom,
Origen
of Alexandria, Eusebius of Caesarea, Honorius of Autun)
21
9
The Testimony of St. Augustine
24
10
The Transmission of the Classical Legacy (Bocthius, Shakespeare)
27
11
Music as a Liberal Art
(
Scholia
enchinada)
32
12
Before Notation (Isidore of Seville, St. Augustine,
John the Deacon, Notker Balbulus,
Costumai
of St.
Benigne)
34
13
Embellishing the Liturgy (Notker Balbulus, Ethehvold)
38
14
Musical Notation and Its Consequences
(Odo
of
Climy,
Guido
of Arezzo, Chaucer)
41
15
Music in Courtly Life (Raimbaut
de Vaqueiras,
Roman
dc
la
гол·)
47
16
The Emergence of Polyphony (Aldhelm, Scotus Erigena, Hucbald,
Regino
of
Prüm,
Giraldus Canibrensis, Anon. IV, John of Salisbury)
50
-
v
-
vi
Contents
17
The Forms and Practices of Music,
с
1300
(Johannes
de Grocheo,
Aegidius of
Murino)
53
18
The First Musical
Avant-
Garde (Jean
de Muris,
Jacobus of
Liège,
John
XXII,
motet and madrigal texts)
57
19
The Life of Francesco
Landini
(Filippo Villani)
62
20
A Letter from
Guillaume de
Machaut 64
PART THREE
_______________________________________
The Renaissance
67
21
The Fount and Origin (Martin
Le
Franc, Tinctoris)
67
22
Music at Church and State Festivities
in the Early Renaissance (Manetti, d Escouchy)
68
23
The Triumph of Emperor Maximilian
70
24
Music as a Business (Petrucci, Francis I, Tallis and Byrd)
75
25
Music in Castiglione s Courtier
79
26
Josquin
des Prez
in the Eyes of His Contemporaries
(Glareanus,
Gian di
Artiganova,
Coelico,
Luther)
82
27
Luther
and Music (Luther,
Walther,
parody texts)
85
28
The Swiss Reformers (Calvin)
90
29
The Reformation in England (cathedral injunctions, John Bull)
92
30
High Renaissance Style
(Aron, Zarlino)
94
31
Willaert the Reformer (Zarlino,
Stocker)
96
32
Music at a Medici Wedding
(Giunti)
97
33
Lasso and Palestrina as Revealed in Their Letters
101
34
The Life of the Church Musician
(Constitutiones Capellae Pontificiae, Zarlino, etc.)
104
35
The Genres of Music in the High Renaissance
(Morley,
Cerone, Vicentino)
108
36
The Counter Reformation (Bishop Franco, Council
of Trent, Palestrina, Animuccia, Ruffo, Gregory
XIII,
Coryat)
113
37
Palestrina: Fact and Legend
(Agazzari, Cresollio, Guidiccioni, Baini, Palestrina)
118
38
Madrigals and Madrigalism (Mazzone, Zarlino-Morley)
120
39
Gesualdo, Nobleman Musician (Fontanelli)
122
40
The Most Musical Court in Europe (Bottrigari, Giustiniani)
124
41
Music and Dancing as Social Graces (anonymous
conversation book, Arbeau, Byrd, Morley, Shakespeare)
126
42
Renaissance Instrumentalists
(Tinctoris, Ventemille, cathedral and municipal documents)
133
43
Radical Humanism: The End of the Renaissance
(Vicentino, Mersenne,
Le Jeune,
Galilei)
136
PART FOUR
_________________________________________
The Baroque
143
44
The Birth of a New Music (Caccini)
143
45
The Second Practice
(Artuši,
Monteverdi)
145
Contents
vii
46
The Earliest Operas (Gagliano, Striggio)
147
47
Basso
Continuo
and Figured Bass (Agazzari,
Banchieri)
150
48
From the Letters of Monteverdi
152
49
Venice,
1637:
Opera Opens for Business (Ivanovich)
155
50 Schütz
Recounts His Career
157
51
The Doctrine of Figures
(Bernhard) 159
52
Music and Scientific Empiricism (Milton, Bacon)
161
53
Music in the Churches of Rome,
1639
(Maugars)
165
54
Music under the Sun King (Pierre
Rameau)
168
55
Rationalistic Distaste for Opera
(Corneille,
Saint-
Évremond, La Bruyère)
170
56
A New Sound Ideal (Mersenne,
Le
Blanc)
173
57
The Baroque Sonata (North,
Purceii,
Couperin)
175
58
Modem Concert Life Is Bom (North)
179
59
The Mature Baroque: The Doctrine of the Affections
(Descartes, Mattheson)
180
60
The Art of Music Reduced to Rational Principles (J.-P.
Rameau)
186
61
The Earliest Musical Conservatories (Burney)
188
62
Castrato
Singers (Burney)
190
63
The Conventions of the Opera
Seria (Goldoni)
194
64
Opera Audiences in Eighteenth-Century Italy (Sharp)
196
65
Domenico
Scarlatti at the Harpsichord (Burney)
198
66
A Traveler s Impressions of Vivaldi (Uffenbach)
199
67
Couperin on His
Pièces
Ле
Clavecin
200
68
The Piano Is Invented (Maffei)
202
69
Addison and Steele Poke Fun at Handel s First London Opera
204
70
Some Contemporaiy Documents Relating to Handel s Oratorios
206
71
Bach s Duties and Obligations at Leipzig
209
72
Bach Remembered by His Son
211
73
Bach s Obituary (C. P. E. Bach,
Agricola)
212
PART FIVE
_____________________________________________
The Pre-Classical Period
217
74
The Cult of the Natural
(Heinichen, Scheibe) 217
75
The Advice and Opinions of an Italian Singing Master
(Tosi)
219
76
From Geminiani s Violin Tutor
221
77
From Quantz s Treatise on Flute Playing
223
78
Carl
Philipp
Emanuel
Bach on Playing Keyboard Instruments
227
79
The Rise of the Italian Comic Opera Style
{La serva padrona,
d Holbach,
Hiller) 231
80
From Rousseau s Dictionary of Music
240
PART SIX
______________________________________________
The Classical Period
243
81
A Side Trip into Aesthetics
(Rousseau, Avison, Beattie, Twining, Smith, Kant)
243
viii Contents
82
Haydn s Duties in the Service of Prince
Esterházy
252
83
Gluck s Operatic Manifesto
254
84
Folk Song : A New Name for Something Very Old (Herder)
255
85
Some General Thoughts on Music by Dr. Burney
257
86
Frederick the Great Gives a Concert (Burney)
258
87
The Young Mozart as a Scientific Curiosity
(Barrington)
260
88
From Mozart s Letters
264
89
Haydn s Reception in London (Burney, London dailies)
266
90
Sonata Form and the Symphony Described
by a Contemporary of Haydn
(Kollmann) 269
91
A Musical Episode of the French Revolution
271
92
Vienna,
1800 273
93
Beethoven s
Heiligenstadt
Testament
277
94
The First Reactions to Beethoven s
Eroica
Symphony
279
95
A Contemporary Portrait of Beethoven
280
96
The First Performance of Beethoven s Ninth Symphony
282
PART SEVEN
______________________________________________________
The Later Nineteenth Century:
Romanticism and Other Preoccupations
285
97
Music as a Proper Occupation for the British Female (Burgh)
285
98
Leigh Hunt on Rossini
286
99
Schubert Remembered by a Friend (Spaun)
287
100
Paganini,
the Spectacular Virtuoso (Hunt)
289
101
The Virtuoso Conductor (Spohr)
293
102
The State of Music in Italy in
1830 295
103
From the Writings of Berlioz
296
104
The Program of the
Symphonie
Fantastique
300
105
From the Writings of Schumann
303
106
Liszt, the All-Conquering Pianist
308
107
From the Writings of Liszt
310
108
Glimpses of Chopin Composing, Playing the Piano
(Sand, Mikuli, Hogarth, Heine)
313
109
Mendelssohn and Queen Victoria
315
110
Verdi s Rise to Solitary Eminence (Basevi)
317
111 From the Writings of Wagner
319
112
Wagner s Beethoven
322
113
The Music of the Future Controversy
(Schumann, Mendelssohn, Liszt,
Brendel,
Brahms)
324
114
P. T. Barnum Brings the Swedish Nightingale to America
329
115
Smetana
and the Czech National Style
(Novotný)
331
116
The New Russian School (Stasov)
333
117
Musorgsky, a Musical Realist
336
118
Chaikovsky on Inspiration and Self-Expression
338
119
Brahms on Composing
(Henschel)
342
120
The Brahmin Point of View (Hanslick)
343
Contents ix
121 Verdi
at the Time of
Otelio
345
122
Grieg on the Norwegian Element in His Music
350
123
The Post-
Wagneriane:
Mahler
351
124
The Post-Wagnerians: Richard Strauss
353
PART EIGHT
______________________________________
The Twentieth Century
355
125
Debussy and Musical Impressionism
355
126
Questioning Basic Assumptions (Busoni)
358
127
From the Writings of Charles Ives
360
128
Musical Expressionism
(Schoenberg, Wellesz,
et al.)
362
129
The Retreat to the Ivory Tower (Berg)
366
130
The Death of Tonality?
(Webern) 368
131
Arnold
Schoenberg
on Composition with Twelve Tones
370
132
The Rite of Spring (Stravinsky, Van
Vechten,
Cui,
Du
Mas)
372
133
A Futurist Manifesto (Russolo)
376
134
The New Folklorism
(Bartók,
Stravinsky, Vaughan Williams)
378
135
The Cataclysm
(Bartok)
382
136
Between the Wars (Sessions)
384
137
The New Objectivity (Stravinsky)
388
138
Anti-Romantic Polemics from Stravinsky s Autobiography
390
139
Schoenberg
on Stravinsky, Stravinsky on
Schoenberg
394
140
The Cult of Blague:
Satie
and The Six
(Satie,
Collet, Milhaud)
396
141
Polytonality (Milhaud)
400
142
The Only Twentieth -Century Aesthetic? (Thomson)
402
143
The Making of Wozzeck (Berg)
403
144
Approaching the Limits of Compression
(Schoenberg,
Webern) 405
145
The Assimilation of Jazz (Gershwin, Ravel)
406
146
New Musical Resources (Cowell)
408
147
Retrenchment (Hindemith)
412
148
Music and the Social Conscience (Weill, Hindemith, Copland)
414
149
Music and Ideology (Russian Association of Proletarian Musicians)
419
150
Composers on Trial
(Pravda,
Thomson, Prokofiev)
421
151
Music under and after the Nazis
( Entartete Musik
Exhibition,
Gerigk,
Büttner,
Allied Military Government)
429
152
The Outlook after World War II (Thomson)
436
153
New Developments in
Serialismi
(Boulez,
Adorno,
Krenek, Babbitt)
440
154
Stravinsky the
Serialist
452
155
Postwar Compositional Issues (Sessions)
454
156
Music and the Cold War (Nabokov,
Ligeti)
457
157
Music and the New Left
(Fluxus
Group, Cardew, Henze)
463
158
The Master of Organized Sound
(Várese)
468
159
The Music of Chance (Cage)
471
160
New Approaches to the Organization of Time (Carter)
474
161
Composer and Society (Britten, Babbitt,
Rochberg) 477
χ
Contents
PART NINE
The Recent Past, and the Present
489
162
Defection (Rorem)
489
163
Minimalism (Reich, R. Wilson, Glass)
492
164
Fusion (Harrison)
498
165
New Eclecticism (Schnittke)
501
166
New Romanticism (Druckman, Del
Tredici,
Kriesberg)
504
167
Technological Revolution (Mathews,
Lanský)
509
168
Postmodernist Paradigms (S. Johnson, Lerdahl,
Boros)
515
169
Feminist Perspectives
(Oliveros, Broido
and Oteri, Monk, McClary)
523
170
New Topicality (Adams, Corigliano)
530
171
Millennium s End (Ferneyhough, Gann, Monk, Slobin)
537
172
A Glimpse of the Future? (Tommasini)
545
GLOSSARY
549
INDEX
557
|
| adam_txt |
CONTENTS
PREFACE
TO
THE SECOND EDITION
xi
PREFACE
TO THE
FIRST EDITION
xiii
PART ONE
_
The Heritage of Antiquity
1
1
Orpheus and the Magical Powers of Music (Ovid)
1
2
Pythagoras and the Numerical Properties of Music (Nicomachus)
2
3
Plato's Musical Idealism
5
4
Aristotle on the Purposes of Music
8
5
The Kinship of Music and Rhetoric (Quintilian)
10
6
Music in Temple and Synagogue: The Judaic Heritage
(Bible, Pliilo of Alexandria)
12
7
Music in the Christian Churches of Jerusalem,
с
A.D. 400
(Egeria)
17
PART TWO
_
The Middle Ages
21
8
The Church Fathers on Psalmody and on the Dangers
of Unholy Music (St. Basil, St. John Chrysostom,
Origen
of Alexandria, Eusebius of Caesarea, Honorius of Autun)
21
9
The Testimony of St. Augustine
24
10
The Transmission of the Classical Legacy (Bocthius, Shakespeare)
27
11
Music as a Liberal Art
(
Scholia
enchinada)
32
12
Before Notation (Isidore of Seville, St. Augustine,
John the Deacon, Notker Balbulus,
Costumai
of St.
Benigne)
34
13
Embellishing the Liturgy (Notker Balbulus, Ethehvold)
38
14
Musical Notation and Its Consequences
(Odo
of
Climy,
Guido
of Arezzo, Chaucer)
41
15
Music in Courtly Life (Raimbaut
de Vaqueiras,
Roman
dc
la
гол·)
47
16
The Emergence of Polyphony (Aldhelm, Scotus Erigena, Hucbald,
Regino
of
Prüm,
Giraldus Canibrensis, Anon. IV, John of Salisbury)
50
-
v
-
vi
Contents
17
The Forms and Practices of Music,
с
1300
(Johannes
de Grocheo,
Aegidius of
Murino)
53
18
The First Musical
Avant-
Garde (Jean
de Muris,
Jacobus of
Liège,
John
XXII,
motet and madrigal texts)
57
19
The Life of Francesco
Landini
(Filippo Villani)
62
20
A Letter from
Guillaume de
Machaut 64
PART THREE
_
The Renaissance
67
21
The "Fount and Origin" (Martin
Le
Franc, Tinctoris)
67
22
Music at Church and State Festivities
in the Early Renaissance (Manetti, d'Escouchy)
68
23
The Triumph of Emperor Maximilian
70
24
Music as a Business (Petrucci, Francis I, Tallis and Byrd)
75
25
Music in Castiglione's Courtier
79
26
Josquin
des Prez
in the Eyes of His Contemporaries
(Glareanus,
Gian di
Artiganova,
Coelico,
Luther)
82
27
Luther
and Music (Luther,
Walther,
parody texts)
85
28
The Swiss Reformers (Calvin)
90
29
The Reformation in England (cathedral injunctions, John Bull)
92
30
High Renaissance Style
(Aron, Zarlino)
94
31
Willaert the Reformer (Zarlino,
Stocker)
96
32
Music at a Medici Wedding
(Giunti)
97
33
Lasso and Palestrina as Revealed in Their Letters
101
34
The Life of the Church Musician
(Constitutiones Capellae Pontificiae, Zarlino, etc.)
104
35
The Genres of Music in the High Renaissance
(Morley,
Cerone, Vicentino)
108
36
The Counter Reformation (Bishop Franco, Council
of Trent, Palestrina, Animuccia, Ruffo, Gregory
XIII,
Coryat)
113
37
Palestrina: Fact and Legend
(Agazzari, Cresollio, Guidiccioni, Baini, Palestrina)
118
38
Madrigals and Madrigalism (Mazzone, Zarlino-Morley)
120
39
Gesualdo, Nobleman Musician (Fontanelli)
122
40
The Most Musical Court in Europe (Bottrigari, Giustiniani)
124
41
Music and Dancing as Social Graces (anonymous
conversation book, Arbeau, Byrd, Morley, Shakespeare)
126
42
Renaissance Instrumentalists
(Tinctoris, Ventemille, cathedral and municipal documents)
133
43
Radical Humanism: The End of the Renaissance
(Vicentino, Mersenne,
Le Jeune,
Galilei)
136
PART FOUR
_
The Baroque
143
44
The Birth of a "New Music" (Caccini)
143
45
The "Second Practice"
(Artuši,
Monteverdi)
145
Contents
vii
46
The Earliest Operas (Gagliano, Striggio)
147
47
Basso
Continuo
and Figured Bass (Agazzari,
Banchieri)
150
48
From the Letters of Monteverdi
152
49
Venice,
1637:
Opera Opens for Business (Ivanovich)
155
50 Schütz
Recounts His Career
157
51
The Doctrine of Figures
(Bernhard) 159
52
Music and Scientific Empiricism (Milton, Bacon)
161
53
Music in the Churches of Rome,
1639
(Maugars)
165
54
Music under the Sun King (Pierre
Rameau)
168
55
Rationalistic Distaste for Opera
(Corneille,
Saint-
Évremond, La Bruyère)
170
56
A New Sound Ideal (Mersenne,
Le
Blanc)
173
57
The Baroque Sonata (North,
Purceii,
Couperin)
175
58
Modem Concert Life Is Bom (North)
179
59
The Mature Baroque: The Doctrine of the Affections
(Descartes, Mattheson)
180
60
The Art of Music Reduced to Rational Principles (J.-P.
Rameau)
186
61
The Earliest Musical Conservatories (Burney)
188
62
Castrato
Singers (Burney)
190
63
The Conventions of the Opera
Seria (Goldoni)
194
64
Opera Audiences in Eighteenth-Century Italy (Sharp)
196
65
Domenico
Scarlatti at the Harpsichord (Burney)
198
66
A Traveler's Impressions of Vivaldi (Uffenbach)
199
67
Couperin on His
Pièces
Ле
Clavecin
200
68
The Piano Is Invented (Maffei)
202
69
Addison and Steele Poke Fun at Handel's First London Opera
204
70
Some Contemporaiy Documents Relating to Handel's Oratorios
206
71
Bach's Duties and Obligations at Leipzig
209
72
Bach Remembered by His Son
211
73
Bach's Obituary (C. P. E. Bach,
Agricola)
212
PART FIVE
_
The Pre-Classical Period
217
74
The Cult of the Natural
(Heinichen, Scheibe) 217
75
The Advice and Opinions of an Italian Singing Master
(Tosi)
219
76
From Geminiani's Violin Tutor
221
77
From Quantz's Treatise on Flute Playing
223
78
Carl
Philipp
Emanuel
Bach on Playing Keyboard Instruments
227
79
The Rise of the Italian Comic Opera Style
{La serva padrona,
d'Holbach,
Hiller) 231
80
From Rousseau's Dictionary of Music
240
PART SIX
_
The Classical Period
243
81
A Side Trip into Aesthetics
(Rousseau, Avison, Beattie, Twining, Smith, Kant)
243
viii Contents
82
Haydn's Duties in the Service of Prince
Esterházy
252
83
Gluck's Operatic Manifesto
254
84
"Folk Song": A New Name for Something Very Old (Herder)
255
85
Some General Thoughts on Music by Dr. Burney
257
86
Frederick the Great Gives a Concert (Burney)
258
87
The Young Mozart as a Scientific Curiosity
(Barrington)
260
88
From Mozart's Letters
264
89
Haydn's Reception in London (Burney, London dailies)
266
90
Sonata Form and the Symphony Described
by a Contemporary of Haydn
(Kollmann) 269
91
A Musical Episode of the French Revolution
271
92
Vienna,
1800 273
93
Beethoven's
Heiligenstadt
Testament
277
94
The First Reactions to Beethoven's
"Eroica"
Symphony
279
95
A Contemporary Portrait of Beethoven
280
96
The First Performance of Beethoven's Ninth Symphony
282
PART SEVEN
_
The Later Nineteenth Century:
Romanticism and Other Preoccupations
285
97
Music as a Proper Occupation for the British Female (Burgh)
285
98
Leigh Hunt on Rossini
286
99
Schubert Remembered by a Friend (Spaun)
287
100
Paganini,
the Spectacular Virtuoso (Hunt)
289
101
The Virtuoso Conductor (Spohr)
293
102
The State of Music in Italy in
1830 295
103
From the Writings of Berlioz
296
104
The Program of the
Symphonie
Fantastique
300
105
From the Writings of Schumann
303
106
Liszt, the All-Conquering Pianist
308
107
From the Writings of Liszt
310
108
Glimpses of Chopin Composing, Playing the Piano
(Sand, Mikuli, Hogarth, Heine)
313
109
Mendelssohn and Queen Victoria
315
110
Verdi's Rise to Solitary Eminence (Basevi)
317
111 From the Writings of Wagner
319
112
Wagner's Beethoven
322
113
The "Music of the Future" Controversy
(Schumann, Mendelssohn, Liszt,
Brendel,
Brahms)
324
114
P. T. Barnum Brings the Swedish Nightingale to America
329
115
Smetana
and the Czech National Style
(Novotný)
331
116
The "New Russian School" (Stasov)
333
117
Musorgsky, a Musical Realist
336
118
Chaikovsky on Inspiration and Self-Expression
338
119
Brahms on Composing
(Henschel)
342
120
The "Brahmin" Point of View (Hanslick)
343
Contents ix
121 Verdi
at the Time of
Otelio
345
122
Grieg on the Norwegian Element in His Music
350
123
The Post-
Wagneriane:
Mahler
351
124
The Post-Wagnerians: Richard Strauss
353
PART EIGHT
_
The Twentieth Century
355
125
Debussy and Musical Impressionism
355
126
Questioning Basic Assumptions (Busoni)
358
127
From the Writings of Charles Ives
360
128
Musical Expressionism
(Schoenberg, Wellesz,
et al.)
362
129
The Retreat to the Ivory Tower (Berg)
366
130
The Death of Tonality?
(Webern) 368
131
Arnold
Schoenberg
on Composition with Twelve Tones
370
132
The Rite of Spring (Stravinsky, Van
Vechten,
Cui,
Du
Mas)
372
133
A Futurist Manifesto (Russolo)
376
134
The New Folklorism
(Bartók,
Stravinsky, Vaughan Williams)
378
135
The Cataclysm
(Bartok)
382
136
Between the Wars (Sessions)
384
137
The New Objectivity (Stravinsky)
388
138
Anti-Romantic Polemics from Stravinsky's Autobiography
390
139
Schoenberg
on Stravinsky, Stravinsky on
Schoenberg
394
140
The Cult of Blague:
Satie
and "The Six"
(Satie,
Collet, Milhaud)
396
141
Polytonality (Milhaud)
400
142
The Only Twentieth -Century Aesthetic? (Thomson)
402
143
The Making of Wozzeck (Berg)
403
144
Approaching the Limits of Compression
(Schoenberg,
Webern) 405
145
The Assimilation of Jazz (Gershwin, Ravel)
406
146
"New Musical Resources" (Cowell)
408
147
Retrenchment (Hindemith)
412
148
Music and the Social Conscience (Weill, Hindemith, Copland)
414
149
Music and Ideology (Russian Association of Proletarian Musicians)
419
150
Composers on Trial
(Pravda,
Thomson, Prokofiev)
421
151
Music under and after the Nazis
("Entartete Musik"
Exhibition,
Gerigk,
Büttner,
Allied Military Government)
429
152
The Outlook after World War II (Thomson)
436
153
New Developments in
Serialismi
(Boulez,
Adorno,
Krenek, Babbitt)
440
154
Stravinsky the
Serialist
452
155
Postwar Compositional "Issues" (Sessions)
454
156
Music and the Cold War (Nabokov,
Ligeti)
457
157
Music and the "New Left"
(Fluxus
Group, Cardew, Henze)
463
158
The Master of "Organized Sound"
(Várese)
468
159
The Music of Chance (Cage)
471
160
New Approaches to the Organization of Time (Carter)
474
161
Composer and Society (Britten, Babbitt,
Rochberg) 477
χ
Contents
PART NINE
The Recent Past, and the Present
489
162
Defection (Rorem)
489
163
Minimalism (Reich, R. Wilson, Glass)
492
164
Fusion (Harrison)
498
165
New Eclecticism (Schnittke)
501
166
New Romanticism (Druckman, Del
Tredici,
Kriesberg)
504
167
Technological Revolution (Mathews,
Lanský)
509
168
Postmodernist Paradigms (S. Johnson, Lerdahl,
Boros)
515
169
Feminist Perspectives
(Oliveros, Broido
and Oteri, Monk, McClary)
523
170
New Topicality (Adams, Corigliano)
530
171
Millennium's End (Ferneyhough, Gann, Monk, Slobin)
537
172
A Glimpse of the Future? (Tommasini)
545
GLOSSARY
549
INDEX
557 |
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| building | Verbundindex |
| bvnumber | BV022961568 |
| callnumber-first | M - Music |
| callnumber-label | ML160 |
| callnumber-raw | ML160 |
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| callnumber-subject | ML - Literature on Music |
| contents | pt. 1. The heritage of antiquity -- pt. 2. The Middle Ages -- pt. 3. The Renaissance -- pt. 4. The Baroque -- pt. 5. The pre-classical period -- pt. 6. The classical period -- pt. 7. The later nineteenth century: romanticism and other preoccupations -- pt. 8. The twentieth century -- pt. 9. The recent, past, and the present. |
| ctrlnum | (OCoLC)135238651 (DE-599)BVBBV022961568 |
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| discipline | Musikwissenschaft |
| discipline_str_mv | Musikwissenschaft |
| edition | 2. ed. |
| era | Geschichte gnd |
| era_facet | Geschichte |
| format | Book |
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| indexdate | 2024-07-09T21:08:39Z |
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| spelling | Music in the Western World a history in documents Piero Weiss, Richard Taruskin 2. ed. Australia Thomson/Schirmer 2008 XIV, 567 S. Ill. 24 cm txt rdacontent n rdamedia nc rdacarrier Includes bibliographical references and index pt. 1. The heritage of antiquity -- pt. 2. The Middle Ages -- pt. 3. The Renaissance -- pt. 4. The Baroque -- pt. 5. The pre-classical period -- pt. 6. The classical period -- pt. 7. The later nineteenth century: romanticism and other preoccupations -- pt. 8. The twentieth century -- pt. 9. The recent, past, and the present. Geschichte gnd rswk-swf Musik Music History and criticism Sources Musik (DE-588)4040802-4 gnd rswk-swf Geschichte (DE-588)4020517-4 gnd rswk-swf Westliche Welt (DE-588)4079237-7 gnd rswk-swf (DE-588)4002214-6 Anthologie gnd-content (DE-588)4135952-5 Quelle gnd-content Musik (DE-588)4040802-4 s Geschichte z DE-604 Westliche Welt (DE-588)4079237-7 g Geschichte (DE-588)4020517-4 s 1\p DE-604 Weiss, Piero 1928-2011 Sonstige (DE-588)131607243 oth Taruskin, Richard 1945-2022 Sonstige (DE-588)10379753X oth Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016165935&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis 1\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk |
| spellingShingle | Music in the Western World a history in documents pt. 1. The heritage of antiquity -- pt. 2. The Middle Ages -- pt. 3. The Renaissance -- pt. 4. The Baroque -- pt. 5. The pre-classical period -- pt. 6. The classical period -- pt. 7. The later nineteenth century: romanticism and other preoccupations -- pt. 8. The twentieth century -- pt. 9. The recent, past, and the present. Musik Music History and criticism Sources Musik (DE-588)4040802-4 gnd Geschichte (DE-588)4020517-4 gnd |
| subject_GND | (DE-588)4040802-4 (DE-588)4020517-4 (DE-588)4079237-7 (DE-588)4002214-6 (DE-588)4135952-5 |
| title | Music in the Western World a history in documents |
| title_auth | Music in the Western World a history in documents |
| title_exact_search | Music in the Western World a history in documents |
| title_exact_search_txtP | Music in the Western World a history in documents |
| title_full | Music in the Western World a history in documents Piero Weiss, Richard Taruskin |
| title_fullStr | Music in the Western World a history in documents Piero Weiss, Richard Taruskin |
| title_full_unstemmed | Music in the Western World a history in documents Piero Weiss, Richard Taruskin |
| title_short | Music in the Western World |
| title_sort | music in the western world a history in documents |
| title_sub | a history in documents |
| topic | Musik Music History and criticism Sources Musik (DE-588)4040802-4 gnd Geschichte (DE-588)4020517-4 gnd |
| topic_facet | Musik Music History and criticism Sources Geschichte Westliche Welt Anthologie Quelle |
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