Twentieth-century music in the West: an introduction
"Introduction Steve Reich pitched up in San Francisco in September 1961. He was a young musician, one who had been taken by the early-century work of the Hungarian composer and folklorist Béla Bartók, and he had journeyed west from New York in the hope of studying with Leon Kirchner, a composer...
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| Hauptverfasser: | , , , |
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| Format: | Buch |
| Sprache: | English |
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Cambridge ; New York ; Port Melbourne ; New Delhi ; Singapore
Cambridge University Press
2022
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| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | "Introduction Steve Reich pitched up in San Francisco in September 1961. He was a young musician, one who had been taken by the early-century work of the Hungarian composer and folklorist Béla Bartók, and he had journeyed west from New York in the hope of studying with Leon Kirchner, a composer in the rough-lyric Bartók tradition who'd been teaching at Mills College. But Kirchner had just left for Harvard, so Reich ended up working at Mills under Luciano Berio. Over the course of the previous decade, Berio had become identified as a figurehead of the European post-war avant-garde: his ultramodern serialist work was quite a different proposition to Kirchner's own"-- |
| Beschreibung: | XIV, 479 Seiten Illustrationen, Notenbeispiele, Porträts 25,1 cm |
| ISBN: | 9781108481984 9781108741736 |
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| 505 | 8 | |a Introduction -- Part 1. Histories. Place and space, local and global ; Modernism ; Postmodernism ; Canons -- Part 2. Techniques and technologies. Work and notation ; Rhythm and time ; Harmony ; Instruments -- Part 3. Mediation. Recording and production ; Copyright and the music industry ; States and markets ; Music and the Moving Image -- Part 4. Identities. Gender and sexuality ; Race and ethnicity ; Audiences, class and consumption ; Centres and peripheries | |
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Datensatz im Suchindex
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| adam_text | Contents List of Figures [page x] List of Tables [xiii] Acknowledgements [xiv] Introduction [1] Music ‘High’ and ‘Low’ [3] Musicology and Music Historiography in the Late Twentieth Century How to Use This Book [8] An Outline of the Western Twentieth Century [10] PART I 1 HISTORIES [21] Place and Space, Local and Global [23] The Musicology of ‘Place’ and ‘Space’ [24] City and Country [29] Case Study 1.1: New Orleans and the Birth of Jazz ... City and Country, Continued [35] Nation and World [38] Case Study 1.2: Global Musical Spaces [41] Conclusion [45] 2 Modernism [46] Tradition, Progress and the Avant-Gardes [48] Subjectivity [54] Modernism and Gender [56] Case Study 2.1: Twelve-Tone and Serial Techniques Popular Modernism [67] Case Study 2.2: Bebop [69] Institutionalisation [74] Conclusion [76] 3 [31] Postmodernism [60] [77] Changing the (Meta-)Narrative [79] Semiotics and Deconstruction [83] Representation [86] Authorship [88] Case Study 3.1: Polystylism, Quotation and Collage in Post-serial Composition [89] [6]
vi Contents ... Authorship, Continued [93] Image and Consumption [96] Case Study 3.2: Image, Consumption and the Hyperreal in Postmodern Pop [97] Conclusion [102] 4 Canons [104] The Art-Music Canon [105] Popular Music Canons [107] Criteria for Entry [110] Who Constructs a Canon? [113] Case Study 4.1: Gatekeepers and Mediators of Twentieth-Century Canons [116] Rethinking the Past: De-canonisation in the Twentieth Century Case Study 4.2: Women Artists and De-canonisation [123] Conclusion [125] PART II TECHNIQUES AND TECHNOLOGIES 5 W ork and N otation [129] [131] Dissolving the Work: Cage, Feldman and Cardew [132] Happenings and Texts: Cage, Fluxus, Oliveros and Stockhausen Case Study 5.1: Yoko Ono, Cut Piece [141] Historically Informed Performance [ 143] The Work Beyond the Score [145] Case Study 5.2: The Album [148] Conclusion [153] 6 Rhythm and Time [119] [138] [154] Modernist Rhythm [155] The African-Americanisation of Global Rhythmic Practices [159] Case Study 6.1: Salsa [164] Mid-Century Compositional Experiments in Rhythm [167] Case Study 6.2: Minimalism and Repetition [170] Rhythm and Blues, Funk and Rock [174] Groove and the Machine [175] Conclusion [177] 7 Harmony [179] Art Music’s Break from Tonality [181] Case Study 7.1: Harmony after Debussy [184] Lingering Tonalities [187] Alternative Practices [190] Case Study 7.2: Destiny’s Child and Fin-de-Siècle Tonality Harmony and Musicology [ 198] Conclusion [200] [195]
Contents 8 Instruments [202] Looking Back: The Early Music Revival [203] Looking Forward: The Twentieth-Century Soundscape The Instruments of Everyday Life [206] Case Study 8.1: The Piano [209] Technology, Recording and Sampling [212] Electronic Music [216] Acoustic Extensions and Amplification [218] Case Study 8.2: The Vocoder [223] Conclusion [226] PART III MEDIATION 9 [205] [227] Recording and Production [229] Technology through the Century [230] Echo, Reverb and the Virtual Spaces of Rock ’n’ Roll [234] The Music Producer as Creator [236] Case Study 9.1: Lee ‘Scratch’ Perry and the Emergence of Dub Music [238] Liveness, Authenticity and the Ideal Performance [241] The Studio as an Instrument: Deskilling versus Enabling [244] Where Are All the Women? [246] Collectors and Curators of Sounds and Cultures [247] Case Study 9.2: Listening to Recorded Music [250] Conclusion [252] 10 Copyright and the Music Industry [253] The Music Industry 1: Publishing [254] Philosophical Objections [257] The Music Industry 2: Recording [259] Case Study 10.1: The Origins of Rock ’n’ Roll [261] Folk and Popular Practices [263] Case Study 10.2: Hip-hop from the Golden Age to G-funk and Beyond [266] The Birth of the Internet [269] Conclusion [270] 11 States and Markets [271] The Authoritarian State [272] Case Study 11.1: Shostakovich, His Fifth Symphony and the State [277] The Democratic State [280] Case Study 11.2: Paternalism at the BBC [287] Instrumentalisation [290] The Marketplace [291] Conclusion [294] vii
viii Contents 12 Music and the Moving Image [295] Music, Film and Immersion [296] Dissonant Film Scores and Experimental Music [301] Soundscapes: The Relation between Sound and Music [302] Case Study 12.1: Opera and the Moving Image [304] Pop Scores and Pre-existent Music [308] Case Study 12.2: Music Video [309] Interactive Media: Video Games, Video Art and Live Music Performance [313] Conclusion [318] PART IV IDENTITIES [319] 13 Gender and Sexuality [321] Early-Century Musical Constructions of Gender and Sexuality [322] Social Norms and Music in the Twentieth Century [326] Case Study 13.1: Gender, Sexuality and Musical Sound [328] Late-Century Musical Constructions of Gender and Sexuality [332] Case Study 13.2: Gender and Sexuality in Western Art Music [336] Conclusion [339] 14 Race and Ethnicity [341] Essentialism and Constructivism [341] Nationalism (and Ethnicity) in Twentieth-Century Music [342] Case Study 14.1: Béla Bartók and Changing Ethnic and National Tides [347] Black Music and Essentialism [349] Case Study 14.2: Post-human (But Not Post-racial) Cyborgs, Robots and Machines [354] New Racial, Ethnic and National Codes in the Globalised Late Twentieth Century [358] Conclusion [361] 15 Audiences, Class and Consumption [362] Mass Media, Mass Culture: Mass Regression? [362] Technologies of the Musical Self: Subcultures [366] Other Musical Selves in the Second Half of the Century [369] Case Study 15.1: Taste Cultures High and Low, Elite and Mass [370] Globalised Personal Omnivory: Music Audiences at the End of the Twentieth Century [373] Case Study 15.2: East Asian
Audiences and Western Classical Music [375] Conclusion [379] 16 Centres and Peripheries [381] Culture/Countercultures across the Century Case Study 16.1: Free Jazz [386] [381]
Contents Music and Noise [389] Case Study 16.2: Japanese Noise Music on the Global Periphery Downtown and Uptown [396] Conclusion [399] Bibliography [400] Index [450] [392]
|
| adam_txt |
Contents List of Figures [page x] List of Tables [xiii] Acknowledgements [xiv] Introduction [1] Music ‘High’ and ‘Low’ [3] Musicology and Music Historiography in the Late Twentieth Century How to Use This Book [8] An Outline of the Western Twentieth Century [10] PART I 1 HISTORIES [21] Place and Space, Local and Global [23] The Musicology of ‘Place’ and ‘Space’ [24] City and Country [29] Case Study 1.1: New Orleans and the Birth of Jazz . City and Country, Continued [35] Nation and World [38] Case Study 1.2: Global Musical Spaces [41] Conclusion [45] 2 Modernism [46] Tradition, Progress and the Avant-Gardes [48] Subjectivity [54] Modernism and Gender [56] Case Study 2.1: Twelve-Tone and Serial Techniques Popular Modernism [67] Case Study 2.2: Bebop [69] Institutionalisation [74] Conclusion [76] 3 [31] Postmodernism [60] [77] Changing the (Meta-)Narrative [79] Semiotics and Deconstruction [83] Representation [86] Authorship [88] Case Study 3.1: Polystylism, Quotation and Collage in Post-serial Composition [89] [6]
vi Contents . Authorship, Continued [93] Image and Consumption [96] Case Study 3.2: Image, Consumption and the Hyperreal in Postmodern Pop [97] Conclusion [102] 4 Canons [104] The Art-Music Canon [105] Popular Music Canons [107] Criteria for Entry [110] Who Constructs a Canon? [113] Case Study 4.1: Gatekeepers and Mediators of Twentieth-Century Canons [116] Rethinking the Past: De-canonisation in the Twentieth Century Case Study 4.2: Women Artists and De-canonisation [123] Conclusion [125] PART II TECHNIQUES AND TECHNOLOGIES 5 W ork and N otation [129] [131] Dissolving the Work: Cage, Feldman and Cardew [132] Happenings and Texts: Cage, Fluxus, Oliveros and Stockhausen Case Study 5.1: Yoko Ono, Cut Piece [141] Historically Informed Performance [ 143] The Work Beyond the Score [145] Case Study 5.2: The Album [148] Conclusion [153] 6 Rhythm and Time [119] [138] [154] Modernist Rhythm [155] The African-Americanisation of Global Rhythmic Practices [159] Case Study 6.1: Salsa [164] Mid-Century Compositional Experiments in Rhythm [167] Case Study 6.2: Minimalism and Repetition [170] Rhythm and Blues, Funk and Rock [174] Groove and the Machine [175] Conclusion [177] 7 Harmony [179] Art Music’s Break from Tonality [181] Case Study 7.1: Harmony after Debussy [184] Lingering Tonalities [187] Alternative Practices [190] Case Study 7.2: Destiny’s Child and Fin-de-Siècle Tonality Harmony and Musicology [ 198] Conclusion [200] [195]
Contents 8 Instruments [202] Looking Back: The Early Music Revival [203] Looking Forward: The Twentieth-Century Soundscape The Instruments of Everyday Life [206] Case Study 8.1: The Piano [209] Technology, Recording and Sampling [212] Electronic Music [216] Acoustic Extensions and Amplification [218] Case Study 8.2: The Vocoder [223] Conclusion [226] PART III MEDIATION 9 [205] [227] Recording and Production [229] Technology through the Century [230] Echo, Reverb and the Virtual Spaces of Rock ’n’ Roll [234] The Music Producer as Creator [236] Case Study 9.1: Lee ‘Scratch’ Perry and the Emergence of Dub Music [238] Liveness, Authenticity and the Ideal Performance [241] The Studio as an Instrument: Deskilling versus Enabling [244] Where Are All the Women? [246] Collectors and Curators of Sounds and Cultures [247] Case Study 9.2: Listening to Recorded Music [250] Conclusion [252] 10 Copyright and the Music Industry [253] The Music Industry 1: Publishing [254] Philosophical Objections [257] The Music Industry 2: Recording [259] Case Study 10.1: The Origins of Rock ’n’ Roll [261] Folk and Popular Practices [263] Case Study 10.2: Hip-hop from the Golden Age to G-funk and Beyond [266] The Birth of the Internet [269] Conclusion [270] 11 States and Markets [271] The Authoritarian State [272] Case Study 11.1: Shostakovich, His Fifth Symphony and the State [277] The Democratic State [280] Case Study 11.2: Paternalism at the BBC [287] Instrumentalisation [290] The Marketplace [291] Conclusion [294] vii
viii Contents 12 Music and the Moving Image [295] Music, Film and Immersion [296] Dissonant Film Scores and Experimental Music [301] Soundscapes: The Relation between Sound and Music [302] Case Study 12.1: Opera and the Moving Image [304] Pop Scores and Pre-existent Music [308] Case Study 12.2: Music Video [309] Interactive Media: Video Games, Video Art and Live Music Performance [313] Conclusion [318] PART IV IDENTITIES [319] 13 Gender and Sexuality [321] Early-Century Musical Constructions of Gender and Sexuality [322] Social Norms and Music in the Twentieth Century [326] Case Study 13.1: Gender, Sexuality and Musical Sound [328] Late-Century Musical Constructions of Gender and Sexuality [332] Case Study 13.2: Gender and Sexuality in Western Art Music [336] Conclusion [339] 14 Race and Ethnicity [341] Essentialism and Constructivism [341] Nationalism (and Ethnicity) in Twentieth-Century Music [342] Case Study 14.1: Béla Bartók and Changing Ethnic and National Tides [347] Black Music and Essentialism [349] Case Study 14.2: Post-human (But Not Post-racial) Cyborgs, Robots and Machines [354] New Racial, Ethnic and National Codes in the Globalised Late Twentieth Century [358] Conclusion [361] 15 Audiences, Class and Consumption [362] Mass Media, Mass Culture: Mass Regression? [362] Technologies of the Musical Self: Subcultures [366] Other Musical Selves in the Second Half of the Century [369] Case Study 15.1: Taste Cultures High and Low, Elite and Mass [370] Globalised Personal Omnivory: Music Audiences at the End of the Twentieth Century [373] Case Study 15.2: East Asian
Audiences and Western Classical Music [375] Conclusion [379] 16 Centres and Peripheries [381] Culture/Countercultures across the Century Case Study 16.1: Free Jazz [386] [381]
Contents Music and Noise [389] Case Study 16.2: Japanese Noise Music on the Global Periphery Downtown and Uptown [396] Conclusion [399] Bibliography [400] Index [450] [392] |
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| contents | Introduction -- Part 1. Histories. Place and space, local and global ; Modernism ; Postmodernism ; Canons -- Part 2. Techniques and technologies. Work and notation ; Rhythm and time ; Harmony ; Instruments -- Part 3. Mediation. Recording and production ; Copyright and the music industry ; States and markets ; Music and the Moving Image -- Part 4. Identities. Gender and sexuality ; Race and ethnicity ; Audiences, class and consumption ; Centres and peripheries |
| ctrlnum | (OCoLC)1351545548 (DE-599)BVBBV048524735 |
| discipline | Musikwissenschaft |
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| geographic | Westliche Welt (DE-588)4079237-7 gnd |
| geographic_facet | Westliche Welt |
| id | DE-604.BV048524735 |
| illustrated | Illustrated |
| index_date | 2024-07-03T20:50:29Z |
| indexdate | 2024-07-10T09:40:32Z |
| institution | BVB |
| isbn | 9781108481984 9781108741736 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-033901581 |
| oclc_num | 1351545548 |
| open_access_boolean | |
| owner | DE-12 DE-355 DE-BY-UBR |
| owner_facet | DE-12 DE-355 DE-BY-UBR |
| physical | XIV, 479 Seiten Illustrationen, Notenbeispiele, Porträts 25,1 cm |
| psigel | BSB_NED_20221121 |
| publishDate | 2022 |
| publishDateSearch | 2022 |
| publishDateSort | 2022 |
| publisher | Cambridge University Press |
| record_format | marc |
| spelling | Perchard, Tom 1976- Verfasser (DE-588)1062825497 aut Twentieth-century music in the West an introduction Tom Perchard (Goldsmiths, University of London), Stephen Graham (Goldsmiths, University of London), Tim Rutherford-Johnson (independent music critic and editor), Holly Rogers ( Goldsmiths, University of London) 20th-century music in the West Cambridge ; New York ; Port Melbourne ; New Delhi ; Singapore Cambridge University Press 2022 XIV, 479 Seiten Illustrationen, Notenbeispiele, Porträts 25,1 cm txt rdacontent n rdamedia nc rdacarrier Introduction -- Part 1. Histories. Place and space, local and global ; Modernism ; Postmodernism ; Canons -- Part 2. Techniques and technologies. Work and notation ; Rhythm and time ; Harmony ; Instruments -- Part 3. Mediation. Recording and production ; Copyright and the music industry ; States and markets ; Music and the Moving Image -- Part 4. Identities. Gender and sexuality ; Race and ethnicity ; Audiences, class and consumption ; Centres and peripheries "Introduction Steve Reich pitched up in San Francisco in September 1961. He was a young musician, one who had been taken by the early-century work of the Hungarian composer and folklorist Béla Bartók, and he had journeyed west from New York in the hope of studying with Leon Kirchner, a composer in the rough-lyric Bartók tradition who'd been teaching at Mills College. But Kirchner had just left for Harvard, so Reich ended up working at Mills under Luciano Berio. Over the course of the previous decade, Berio had become identified as a figurehead of the European post-war avant-garde: his ultramodern serialist work was quite a different proposition to Kirchner's own"-- Geschichte 1900-2000 gnd rswk-swf Identität Motiv (DE-588)4311101-4 gnd rswk-swf Musikwirtschaft (DE-588)4268614-3 gnd rswk-swf Musik (DE-588)4040802-4 gnd rswk-swf Musiktheorie (DE-588)4040876-0 gnd rswk-swf Musiksoziologie (DE-588)4040869-3 gnd rswk-swf Technologie (DE-588)4059276-5 gnd rswk-swf Westliche Welt (DE-588)4079237-7 gnd rswk-swf Music / 20th century / History and criticism Music / 20th century / Analysis, appreciation Music trade / History / 20th century Music / Social aspects / History / 20th century Musique / 20e siècle / Analyse et appréciation Musique / Industrie / Histoire / 20e siècle Musique / Aspect social / Histoire / 20e siècle Music Music / Social aspects Music trade 1900-1999 Criticism, interpretation, etc History Westliche Welt (DE-588)4079237-7 g Musik (DE-588)4040802-4 s Musiktheorie (DE-588)4040876-0 s Musikwirtschaft (DE-588)4268614-3 s Musiksoziologie (DE-588)4040869-3 s Technologie (DE-588)4059276-5 s Identität Motiv (DE-588)4311101-4 s Geschichte 1900-2000 z DE-604 Graham, Stephen 1982- Verfasser (DE-588)1077339755 aut Rutherford-Johnson, Tim 1977- Verfasser (DE-588)1029990573 aut Rogers, Holly ca. 20./21. Jh. Verfasser (DE-588)1154419150 aut Online version 9781108680899 Twentieth-century music in the West [1.] Cambridge, United Kingdom ; New York : Cambridge University Press, 2022 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=033901581&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Perchard, Tom 1976- Graham, Stephen 1982- Rutherford-Johnson, Tim 1977- Rogers, Holly ca. 20./21. Jh Twentieth-century music in the West an introduction Introduction -- Part 1. Histories. Place and space, local and global ; Modernism ; Postmodernism ; Canons -- Part 2. Techniques and technologies. Work and notation ; Rhythm and time ; Harmony ; Instruments -- Part 3. Mediation. Recording and production ; Copyright and the music industry ; States and markets ; Music and the Moving Image -- Part 4. Identities. Gender and sexuality ; Race and ethnicity ; Audiences, class and consumption ; Centres and peripheries Identität Motiv (DE-588)4311101-4 gnd Musikwirtschaft (DE-588)4268614-3 gnd Musik (DE-588)4040802-4 gnd Musiktheorie (DE-588)4040876-0 gnd Musiksoziologie (DE-588)4040869-3 gnd Technologie (DE-588)4059276-5 gnd |
| subject_GND | (DE-588)4311101-4 (DE-588)4268614-3 (DE-588)4040802-4 (DE-588)4040876-0 (DE-588)4040869-3 (DE-588)4059276-5 (DE-588)4079237-7 |
| title | Twentieth-century music in the West an introduction |
| title_alt | 20th-century music in the West |
| title_auth | Twentieth-century music in the West an introduction |
| title_exact_search | Twentieth-century music in the West an introduction |
| title_exact_search_txtP | Twentieth-century music in the West an introduction |
| title_full | Twentieth-century music in the West an introduction Tom Perchard (Goldsmiths, University of London), Stephen Graham (Goldsmiths, University of London), Tim Rutherford-Johnson (independent music critic and editor), Holly Rogers ( Goldsmiths, University of London) |
| title_fullStr | Twentieth-century music in the West an introduction Tom Perchard (Goldsmiths, University of London), Stephen Graham (Goldsmiths, University of London), Tim Rutherford-Johnson (independent music critic and editor), Holly Rogers ( Goldsmiths, University of London) |
| title_full_unstemmed | Twentieth-century music in the West an introduction Tom Perchard (Goldsmiths, University of London), Stephen Graham (Goldsmiths, University of London), Tim Rutherford-Johnson (independent music critic and editor), Holly Rogers ( Goldsmiths, University of London) |
| title_short | Twentieth-century music in the West |
| title_sort | twentieth century music in the west an introduction |
| title_sub | an introduction |
| topic | Identität Motiv (DE-588)4311101-4 gnd Musikwirtschaft (DE-588)4268614-3 gnd Musik (DE-588)4040802-4 gnd Musiktheorie (DE-588)4040876-0 gnd Musiksoziologie (DE-588)4040869-3 gnd Technologie (DE-588)4059276-5 gnd |
| topic_facet | Identität Motiv Musikwirtschaft Musik Musiktheorie Musiksoziologie Technologie Westliche Welt |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033901581&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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