Over the course of three decades, Modern Music and After has earned its place as the standard work on the processes of musical renewal that began in 1945. It is essential reading for the enquiring listener, and is used widely in university and conservatory courses.
Over the course of three decades, Modern Music and After has earned its place as the standard work on the processes of musical renewal that began in 1945. It is essential reading for the enquiring listener, and is used widely in university and conservatory courses.
Paul Griffiths is an acclaimed writer on contemporary and classical music whose books include A Concise History of Western Music and The Penguin Companion to Classical Music. He is a frequent contributor to The New Yorker and has written the libretto for Elliott Carter's What Next? as well as three novels. In 2002, Griffiths was honored by the French government as a Chevalier de l'Ordre des Arts et des Lettres.
Inhaltsangabe
* Prelude * 1.: Rational and irrational: western Europe, 1945 50 * Paris, 1945 8 The young Boulez Boulez's Second Piano Sonata Other stories Musique concrète Variations: Nono * 2.: Silencing music: Cage, 1946 52 * Rhythmic structuring Towards silence Around Cage * 3.: Total organization: western Europe, 1949 54 * The moment of total serialism 1: Darmstadt 1949 and Darmstadt 1951 Interlude: the patrons of modernism The moment of total serialism 2: Paris 1952 The human voice 1: Nono Electronic music The human voice 2: Barraqué * 4.: Classic modernism and other kinds: the United States, 1945 55 * Schoenberg Carter Babbitt Home made music Wolpe After silence * 5.: The Cold War * 6.: Extension and development: western Europe, 1953 6 * From points to groups Systems of organization Le Marteau sans maître Sound and word ...how time passes... Statistics * 7.: Mobile form: 1956 61 * Cage Stockhausen and Boulez Boulez and Berio Barraqué Exit from the labyrinth * 8.: Elder responses * Stravinsky Messiaen Varèse Symphonists and others * 9.: Reappraisal and disintegration: 1959 64 * Questioning voices: Ligeti, Bussotti, Kagel Stumbling steps: Kurtág Listening ears: Cage, Young, Babbitt Exploiting the moment: Stockhausen The last concert: Nono * 10.: Of elsewhen and elsewhere * The distant past (The imaginary past) The distant or not so distant east Quotation Meta music * 11.: Music theatre * Opera and 'Opera' Music theatre Instrumental theatre * 12.: Politics * Cardew Rzewski The composer in the factory * 13.: Virtuosity and improvisation * The virtuoso Virtuosity in question The electric musician Improvisation * 14.: Orchestras or Computers * Ochestras Computer Music * 15.: Minimalism and melody * New York minimalism Minimalism in Europe Melody * 16.: Ending * * 17.: Holy Minimalisms * Pärt Tavener and Górecki (Messiaen) Ustvolskaya * 18.: New Romanticisms * Rihm Schnittke, and the hectic present Gubaidulina, and the visionary future Silvestrov, and the reverberating past Symphony? Feldman and loss Lachenmann and regain * 19.: New Simplicities * Cage, or innocence Denyer, or outsiderness Kurtág, or immediacy Holliger, or extremity Sciarrino, or intimacy * 20.: New Complexities * Ferneyhough Finnissy Charged solos * 21.: Old Complexities * Carter and the poets Xenakis and the Arditti Quartet Nono and listening Stockhausen and Licht Birtwistle and ritual Berio and memory IRCAM and Boulez * 22.: Spectralisms * Radulescu and Tenney Grisey Vivier * 23.: (Unholy?) Minimalisms * Reich Andriessen * 24.: Eclecticisms * Kagel et al. Donatoni Bolcom and Adams Ligeti * 25.: . Towards mode/meme * Rootless routes: Ligeti Memory's memorials: Berio and Kurtág Remade modes: Adams, Adès, Benjamin Pesson's past and Pauset's Traditions' tracks: around Zorn * 26.: Towards the strange self * Act I: Schneewittchen Entr'acte: Kurtág's Beckett Act II: Luci mie traditrici Entr'acte: Birtwistle's Celan Act III: Three Sisters Entr'acte: Kyburz's no one Act IV: Das Mädchen mit den Schwefelhölzern * 27.: Towards transcendence * Gubaidulina and Christ Haas and darkness Harvey and the Buddha Grisey and rebirth * 28.: Towards change? * Resources * Index
* Prelude * 1.: Rational and irrational: western Europe, 1945 50 * Paris, 1945 8 The young Boulez Boulez's Second Piano Sonata Other stories Musique concrète Variations: Nono * 2.: Silencing music: Cage, 1946 52 * Rhythmic structuring Towards silence Around Cage * 3.: Total organization: western Europe, 1949 54 * The moment of total serialism 1: Darmstadt 1949 and Darmstadt 1951 Interlude: the patrons of modernism The moment of total serialism 2: Paris 1952 The human voice 1: Nono Electronic music The human voice 2: Barraqué * 4.: Classic modernism and other kinds: the United States, 1945 55 * Schoenberg Carter Babbitt Home made music Wolpe After silence * 5.: The Cold War * 6.: Extension and development: western Europe, 1953 6 * From points to groups Systems of organization Le Marteau sans maître Sound and word ...how time passes... Statistics * 7.: Mobile form: 1956 61 * Cage Stockhausen and Boulez Boulez and Berio Barraqué Exit from the labyrinth * 8.: Elder responses * Stravinsky Messiaen Varèse Symphonists and others * 9.: Reappraisal and disintegration: 1959 64 * Questioning voices: Ligeti, Bussotti, Kagel Stumbling steps: Kurtág Listening ears: Cage, Young, Babbitt Exploiting the moment: Stockhausen The last concert: Nono * 10.: Of elsewhen and elsewhere * The distant past (The imaginary past) The distant or not so distant east Quotation Meta music * 11.: Music theatre * Opera and 'Opera' Music theatre Instrumental theatre * 12.: Politics * Cardew Rzewski The composer in the factory * 13.: Virtuosity and improvisation * The virtuoso Virtuosity in question The electric musician Improvisation * 14.: Orchestras or Computers * Ochestras Computer Music * 15.: Minimalism and melody * New York minimalism Minimalism in Europe Melody * 16.: Ending * * 17.: Holy Minimalisms * Pärt Tavener and Górecki (Messiaen) Ustvolskaya * 18.: New Romanticisms * Rihm Schnittke, and the hectic present Gubaidulina, and the visionary future Silvestrov, and the reverberating past Symphony? Feldman and loss Lachenmann and regain * 19.: New Simplicities * Cage, or innocence Denyer, or outsiderness Kurtág, or immediacy Holliger, or extremity Sciarrino, or intimacy * 20.: New Complexities * Ferneyhough Finnissy Charged solos * 21.: Old Complexities * Carter and the poets Xenakis and the Arditti Quartet Nono and listening Stockhausen and Licht Birtwistle and ritual Berio and memory IRCAM and Boulez * 22.: Spectralisms * Radulescu and Tenney Grisey Vivier * 23.: (Unholy?) Minimalisms * Reich Andriessen * 24.: Eclecticisms * Kagel et al. Donatoni Bolcom and Adams Ligeti * 25.: . Towards mode/meme * Rootless routes: Ligeti Memory's memorials: Berio and Kurtág Remade modes: Adams, Adès, Benjamin Pesson's past and Pauset's Traditions' tracks: around Zorn * 26.: Towards the strange self * Act I: Schneewittchen Entr'acte: Kurtág's Beckett Act II: Luci mie traditrici Entr'acte: Birtwistle's Celan Act III: Three Sisters Entr'acte: Kyburz's no one Act IV: Das Mädchen mit den Schwefelhölzern * 27.: Towards transcendence * Gubaidulina and Christ Haas and darkness Harvey and the Buddha Grisey and rebirth * 28.: Towards change? * Resources * Index
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