New music theatre in Europe: transformations between 1955-1975
Between 1955 and 1975 music theatre became a central preoccupation for European composers digesting the consequences of the revolutionary experiments in musical language that followed the end of the Second World War. The 'new music theatre' wrought multiple, significant transformations, se...
Gespeichert in:
| Format: | Buch |
|---|---|
| Sprache: | English |
| Veröffentlicht: |
London ; New York
Routledge, Taylor & Francis Group
2019
|
| Schriftenreihe: | Musical cultures of the twentieth century
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | Between 1955 and 1975 music theatre became a central preoccupation for European composers digesting the consequences of the revolutionary experiments in musical language that followed the end of the Second World War. The 'new music theatre' wrought multiple, significant transformations, serving as a crucible for the experimental rethinking of theatrical traditions, artistic genres, the conventions of performance, and the composer's relation to society. This volume brings together leading specialists from across Europe to offer a new appraisal of the genre. It is structured according to six themes that investigate: the relation of new music theatre to earlier and contemporaneous theories of drama; the use of new technologies; the relation of new music theatre to progressive politics; the role of new venues and environments; the advancement of new conceptions of the performer; and the challenges that new music theatre lays down for music analysis. Contributing authors address canonical works by composers such as Berio, Birtwistle, Henze, Kagel, Ligeti, Nono, and Zimmermann, but also expand the field to figures and artistic developments not regularly represented in existing music histories. Particular attention is given to new music theatre as a site of intense exchange - between practitioners of different art forms, across national borders, and with diverse mediating institutions |
| Beschreibung: | xv, 331 Seiten Illustrationen, Notenbeispiele |
| ISBN: | 9781138323018 |
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| 520 | 3 | |a Between 1955 and 1975 music theatre became a central preoccupation for European composers digesting the consequences of the revolutionary experiments in musical language that followed the end of the Second World War. The 'new music theatre' wrought multiple, significant transformations, serving as a crucible for the experimental rethinking of theatrical traditions, artistic genres, the conventions of performance, and the composer's relation to society. This volume brings together leading specialists from across Europe to offer a new appraisal of the genre. It is structured according to six themes that investigate: the relation of new music theatre to earlier and contemporaneous theories of drama; the use of new technologies; the relation of new music theatre to progressive politics; the role of new venues and environments; the advancement of new conceptions of the performer; and the challenges that new music theatre lays down for music analysis. Contributing authors address canonical works by composers such as Berio, Birtwistle, Henze, Kagel, Ligeti, Nono, and Zimmermann, but also expand the field to figures and artistic developments not regularly represented in existing music histories. Particular attention is given to new music theatre as a site of intense exchange - between practitioners of different art forms, across national borders, and with diverse mediating institutions | |
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Datensatz im Suchindex
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| adam_text | Contents List offigures, tables, and music examples Notes on contributors Acknowledgements Introduction: why ‘new music theatre’ now? vii xii xvi 1 ROBERT ADLINGTON PARTI Between the avant-gardes: new music theatre and new conceptions of drama 1 The definition of a new performance code: from the avant-garde to ‘new theatre’ 13 15 STEFANIA BRUNO 2 Total theatre and music theatre: tracing influences from pre- to post-war avant-gardes 33 JULIA H. SCHRÖDER 3 Theatre as problem: modem drama and its influence in Ligeti, Pousseur and Berio 52 VINCENZINA C. OTTOMANO PART II Expansions of technology 4 Audio-visual collisions: moving image technology and the Laterna Magika aesthetic in new music theatre 77 79 HOLLY ROGERS 5 Composing new media: magnetic tape technology in new music theatre, c. 1950 1970 ANDREAS MÜNZMAY 101
vi Contents PART III The critique of established power 6 Guerrilla in the polder: music-theatrical protests in the Low Countries, 1968-1969 127 129 HARM LANGENKAMP 7 René Leibowitz’s Todos caerán: grand opéra as (critique of) new music theatre 153 ESTEBAN BUCH PART IV New venues and environments 8 A survey of new music theatre in Rome, 1961-1973: ‘Anni favolosi’? 175 177 ALESSANDRO MASTROPIETRO 9 Avant-garde music theatre at the Festival d’Avignon between 1967 and 1969 203 JEAN-FRANÇOIS TRUBERT PART V Reconceiving the performer 225 10 Reconceptualising the performer in new music theatre: collaborations with actors, mimes and musicians 227 DAVID BEARD 11 Embodied commitments: solo performance and the making of new music theatre 255 FRANCESCA PLACANICA PART VI Analysing new music theatre 271 12 New music theatre and theories of embodied cognition 273 BJÖRN HEILE 13 Analysing new music theatre: theme and variations (from a multimedia perspective) 294 ANGELA IDA DE BENEDICTIS Index 319
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| spelling | New music theatre in Europe transformations between 1955-1975 edited by Robert Adlington London ; New York Routledge, Taylor & Francis Group 2019 xv, 331 Seiten Illustrationen, Notenbeispiele txt rdacontent n rdamedia nc rdacarrier Musical cultures of the twentieth century Between 1955 and 1975 music theatre became a central preoccupation for European composers digesting the consequences of the revolutionary experiments in musical language that followed the end of the Second World War. The 'new music theatre' wrought multiple, significant transformations, serving as a crucible for the experimental rethinking of theatrical traditions, artistic genres, the conventions of performance, and the composer's relation to society. This volume brings together leading specialists from across Europe to offer a new appraisal of the genre. It is structured according to six themes that investigate: the relation of new music theatre to earlier and contemporaneous theories of drama; the use of new technologies; the relation of new music theatre to progressive politics; the role of new venues and environments; the advancement of new conceptions of the performer; and the challenges that new music theatre lays down for music analysis. Contributing authors address canonical works by composers such as Berio, Birtwistle, Henze, Kagel, Ligeti, Nono, and Zimmermann, but also expand the field to figures and artistic developments not regularly represented in existing music histories. Particular attention is given to new music theatre as a site of intense exchange - between practitioners of different art forms, across national borders, and with diverse mediating institutions Geschichte 1955-1975 gnd rswk-swf Neue Musik (DE-588)4428235-7 gnd rswk-swf Musiktheater (DE-588)4040874-7 gnd rswk-swf Europa (DE-588)4015701-5 gnd rswk-swf Music theater / Europe / 20th century / History and criticism Music theater Europe 1900-1999 Criticism, interpretation, etc (DE-588)1071861417 Konferenzschrift 2016 Venedig gnd-content Europa (DE-588)4015701-5 g Neue Musik (DE-588)4428235-7 s Musiktheater (DE-588)4040874-7 s Geschichte 1955-1975 z DE-604 Adlington, Robert 1970- Sonstige (DE-588)1037279859 oth Erscheint auch als Online-Ausgabe, ebk 978-0-429-45166-9 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031324967&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
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