A history of twentieth-century music in a theoretic-analytical context:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York [u.a.]
Routledge
2014
|
| Ausgabe: | 1. publ. |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | XVI, 506 S. graph. Darst., Notenbeisp. |
| ISBN: | 9780415881876 |
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| 245 | 1 | 0 | |a A history of twentieth-century music in a theoretic-analytical context |c Elliott Antokoletz |
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Datensatz im Suchindex
| _version_ | 1804149286708969472 |
|---|---|
| adam_text | Contents
Preface
xiii
Acknowledgments
xvii
PART I
Music to the Late
1940s
1.
The Vienna of Freud: Toward Expressionism and the Transformation
of Chromatic Tonality
3
Mahler, Strauss, Hofmannsthal, and the Vienna of Freud
4
Early Post-Romantic Period of the Vienna
Schoenberg
Circle
8
Notes
12
Suggested Reading
13
2.
Vienna
Schoenberg
Circle: Expressionism and Free Atonality
14
Toward Expressionism
14
Free Atonality and Principles of Atonal Organization
16
Notes
30
Suggested Reading
32
3.
Schoenberg s Music Societies, World War i, and Evolution of
the Twelve-Tone Method
34
Schoenberg s Music Societies to Promote Modern Music
35
Toward the Twelve-Tone Method: Nonrepetition and Early Occurrences
of Twelve-Tone Groupings
36
Beginning of Schoenberg s Method of Composing with Twelve Tones
37
Schoenberg
and the Twelve-Tone Trope
38
Schoenberg
and Semi-Combinatoriality
39
Background and Development of Webern s First Serial Works
43
Webern s Twelve-Tone Serial Compositions
44
viii Contente
Webern
and Strict Inversional
Symmetry
44
Background
and Development of Berg s
First Serial Works
50
Berg s Twelve-Tone
Serial
Compositions and Extra-Musical Meaning
50
Berg s Last Works
55
Notes
56
Suggested Reading
58
4.
Musical Reactions to the Ultra-Chromaticism of the Wagner-Strauss
Period and the Rise of New National Styles
60
Development and Transformation of Diatonic Material
61
Debussy: Symbolism and Impressionism in France
63
Ravel: Impressionism, Neodassicism, and Polymodal-Octatonic Tendencies
71
Stravinsky s Russian Period Works
74
The Musical Language of Stravinsky s Russian Ballets
—
The Rite of Spring
75
Scriabin: Late Romanticism and Russian Stylistic and Technical Sources
80
Notes
£5
Suggested Reading
87
5.
Sources of the New Hungarian Art Music and
Bartók s Move
toward Modernism
89
Bartók s
First Folk-Music Investigations, Discovery of Debussy, and Early
Compositional Results
(1905
through World War I)
90
Toward Synthesis of Divergent Art- and Folk-Music Sources
93
Last Stylistic Period
(1926-1945) 97
Notes
106
Suggested Reading
108
6.
Toward Synthesis of Divergent Folk- and Art-Music Sources in
Eastern Europe
110
Hungary:
Kodály
111
Czechoslovakia:
Janáček
113
Poland: Szymanowski
114
Other Eastern-European Composers
119
Notes
120
Suggested Reading
121
7.
Cultural Identity and Cosmopolitan Developments in Northern,
Western, and Southern Europe
122
Scandinavia: Carl Nielsen, Sibelius, and Others
122
England: Vaughan Williams and Others
131
Spain:
Granados, Albéniz,
and
Falla
138
Italy: The Fascist Era
146
Notes
148
Suggested Reading
151
Contents ix
8. New Musical
Sources
and Aesthetics in the
United States 152
The Emergence of
Divergent
Art-Music Styles in the
United States:
Griffes, Ives,
and Others
152
íves:
Experimental Music and Transcendentalism
157
Ultramodern American Composers: Cowell, Ruggles, Crawford Seeger,
and Others
163
Forging a New American Musical Identity: Copland, Harris, and Thomson
168
Piston, Sessions, Hanson, and Others
181
Notes
183
Suggested Reading
185
9.
Search for Cultural Identity in Latin America
187
Mexico: Ponce, Chavez, and
Revueltas
187
Brazil:
Villa-Lobos
195
Argentina: Indigenous Influences in Ginastera s Early Style
200
Notes
203
Suggested Reading
204
10.
Rise of Neoclassicism in France:
Cocteau-Satie
Era and
Les
Six
205
Impact of Political Dictatorship, Economic Depression, Technology, and
Anti-Romanticism on the Development of Neoclassicism
205
Developments in Paris: Satie s Artistic Attitudes and Musical Forms
206
Cocteau—Satie
Era
208
Les
Six and Neoclassicism
209
Notes
222
Suggested Reading
223
11.
Stravinsky in Switzerland and Paris
(1914-1939):
The Neoclassical Style
224
Transformation of the Early Russian Style
224
Permanent Exile from Russia
(1917)
and Emergence of the Neoclassical Style
226
Toward Greater Austerity and Objectivity
229
Notes
234
Suggested Reading
236
12.
The New Objectivity,
Gebrauchsmusik,
and Neotonality in Germany
237
Socio-Cultural
Conditions in Germany after World War I
237
Hindemith: Expressionistic Chromaticism to
Gebrauchsmusik 238
Collaborators of
Brecht:
Social Protest in Music
240
Hindemith s New Theoretical and Compositional Codifications
241
Notes
246
Suggested Reading
247
13.
The Music of Soviet Composers and Socialist Realism
248
Revolution to Early
1930s:
Era of Experimentation
250
Prokofiev: From the Pre-Revolutionary Works to the Early
1930s 251
χ
Contents
Shostakovich: Soviet Works of the
1920s 253
Socialist Realism from the Early
1930s
to Early
1950s:
Prokofiev, Shostakovich,
Kabalevsky, Khachaturian
254
Notes
266
Suggested Reading
268
14.
New Sonorities Based on Density, Color, and Noise
269
Klangfarbenmelodien 269
Harmony as Color or Texture: Tone Clusters and Percussion in
Notated Music
273
Noise and Percussion in Nonnotated Music
276
Invention of New Instruments
282
Notes
284
Suggested Reading
285
15.
Beyond the Second Viennese School: Early Developments of
Twelve-Tone
Seria
lism
286
Dissemination of the Twelve-Tone Idiom
286
Foreign Pupils of
Schoenberg
and
Webern 287
Vienna: Krenek s Extensions of Twelve-Tone Serialism
288
Twelve-Tone Infusion into Basically Tonal Structures
290
Dallapiccola: Protest Music and the Twelve-Tone System
292
Notes
299
Suggested Reading
300
PART II
Music Since the Mid-1940s
16.
Total Serialization in Europe
303
Darmstadt and Webernism
303
Total Serialization of All Parameters
307
Beyond Pointillism: Higher Levels of Serialization
310
Lyricism and Personal Expression in the Context of Total Serialism
312
Notes
314
Suggested Reading
315
17.
Serial and
Nonserial
Approaches to Interval-Sets in the
United States
316
Babbitt As Theorist and Schoenbergite
317
Contrasting Postwar Aesthetic Approaches to Serial Composition:
Organic Development (Sessions) versus Block Construction
(Stravinsky and Copland)
323
Individual Philosophical and Aesthetic Assumptions Underlying Atonal and
Twelve-Tone Conceptions: Wolpe and Carter
333
Contents xi
More Recent Uses of Interval Sets and Fusion with Traditional Elements:
Wuorinen, Rorem,
Korte,
and
Welcher 340
Notes
343
Suggested Reading
345
18.
Twelve-Tone Tonality
347
Toward a New Concept of Tonality
347
Evolution of the Tone Row
347
Early Manifestations of the Interval Cycle and Inversional Symmetry
348
The Cyclic Set
350
The Early Works of
Perle
352
More Recent Works of
Perle
356
Notes
361
Suggested Reading
362
19.
Musique
Concrète
and Electronic Music
363
Musique Concrète
without Tape in Paris
363
Musique Concrète
with Tape in Paris
365
Musique Concrète
in
São
Paulo, Brazil
365
First Postwar Electronic Developments in Europe: Cologne
366
Electronic Studio in Milan
371
Electronic Music in Paris, Brussels, and the Netherlands
372
Tape Recorder Music, Synthesizers, and Computers in the United States
374
State of Electronic Research in the Late Twentieth Century
382
Notes
383
Suggested Reading
384
20.
Aleatory
—
Chance, Improvisation, Open Form
—
and Minimalist
Music
385
Pioneers of Chance Operations in the United States: Ives, Cowell,
and Cage
385
Aleatorie
Composers of the New York School
389
Groups Devoted to a Music of Random Sounds and Actions
393
Darmstadt: Toward Indeterminacy
394
Other European Composers of Aleatory
398
Minimal or Systematic Music Since the Early
1960s:
Young, Riley, Reich,
and Glass
403
Notes
405
Suggested Reading
406
21.
Continuation and Synthesis of National Characteristics and Other
Earlier Trends in Europe
408
General Trends in Various Countries
408
Western Europe: England (Britten) and Scotland (Musgrave)
410
Central, Eastern, and Northern Europe
419
Notes
428
Suggested Reading
428
xii Contents
22.
Continuation
and Synthesis of National Characteristics and Other
Earlier Trends in the United States
429
Early Postwar Generation:
Schuman,
Crumb, Barber, Talma, and Others
429
More Recent Generation: Adams, Corigliano, Zwilich, and Others
440
Multiple Syntheses of Earlier Styles: Tower
443
Notes
448
Suggested Reading
449
23.
Latin-American Composers at Home and Abroad: Continuation and
Synthesis of National Characteristics and Other Earlier Trends
450
Latin-American Composers at Home
450
Ginastera s Stylistic Evolution
451
Non-Twelve-Tone Sets and Brazilian Folk Elements in the Music of
Nobre
455
Latin-American Composers in the United States:
De la
Vega,
Gonzalez,
and Others
459
Notes
464
Suggested Reading
464
24.
Synthesis of East and West in Eastern Asia
465
Chinese Art Music:
1911
Revolution, Cultural Revolution, and More
Modern Times
—
Chen, Sheng, and Others
466
Toward Synthesis and Modernization in Japanese Music: Late Twentieth-Century
Reflection in the Music of Takemitsu
475
Toward Synthesis and Modernization in Korean Music: Late Twentieth-Century
Reflection in the Music of Yun
486
Notes
487
Suggested Reading
489
Credits
491
Index
497
A History of
Twentieth-Century Music
in a Theoretic-Analytical
Context
A History of Twentieth-Century Music in a Theoretic-Analytical Context 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.
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, A History of Twentieth-
Century Music in a Theoretic-Analytical Contextreflects the theoretical/analytical essence of musical
structure and design.
Elliott Antokoletz is Professor of Musicology at the Sarah and Ernest Butler School of Music at
the University of Texas at Austin.
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| spellingShingle | Antokoletz, Elliott 1942- A history of twentieth-century music in a theoretic-analytical context Musiktheorie (DE-588)4040876-0 gnd Musik (DE-588)4040802-4 gnd |
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| title | A history of twentieth-century music in a theoretic-analytical context |
| title_auth | A history of twentieth-century music in a theoretic-analytical context |
| title_exact_search | A history of twentieth-century music in a theoretic-analytical context |
| title_full | A history of twentieth-century music in a theoretic-analytical context Elliott Antokoletz |
| title_fullStr | A history of twentieth-century music in a theoretic-analytical context Elliott Antokoletz |
| title_full_unstemmed | A history of twentieth-century music in a theoretic-analytical context Elliott Antokoletz |
| title_short | A history of twentieth-century music in a theoretic-analytical context |
| title_sort | a history of twentieth century music in a theoretic analytical context |
| topic | Musiktheorie (DE-588)4040876-0 gnd Musik (DE-588)4040802-4 gnd |
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