Music Lessons The Collège de France Lectures
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- Hardcover
- Taschenbuch
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Sprache:Englisch
26,99 €
inkl. MwStBeschreibung
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Format
ePUB
Kopierschutz
Nein
Family Sharing
Ja
Text-to-Speech
Ja
Erscheinungsdatum
06.11.2018
Verlag
Faber & FaberSeitenzahl
496 (Printausgabe)
Dateigröße
1312 KB
Übersetzt von
Jonathan Goldman + weitere
Sprache
Englisch
EAN
9780571334292
Pierre Boulez was appointed to the Collège de France in 1976, with the chair devoted to 'Invention, technique and language in Music', and he held his position until 1995. The publication of his extraordinary Collège de France lectures, his most significant writings from the 1970s to the 1990s, will make a major contribution to the discussion in English about Boulez's aesthetic legacy. His goal in Leçons de musique is to express his conception of musical language, laid out over the course of nearly twenty years of lecturing. He is thinking about the possible paths musical thought could take, as well as the musical legacy of the past
In addition to composers, music historians, theorists, and music students, this book will be invaluable to those interested in the history and aesthetics of 20th century music, musical manifestations of artistic modernism, the history of ideas, and French intellectual and cultural history. Faber have been Pierre Boulez's publisher since 1986 - previous books include Orientations, Boulez on Music Today and Boulez on Conducting.
Praise for Orientations
'Perhaps the most comprehensive and provocative statement of an aesthetic position mustered by a musician since Schoenberg.' New Statesman
In addition to composers, music historians, theorists, and music students, this book will be invaluable to those interested in the history and aesthetics of 20th century music, musical manifestations of artistic modernism, the history of ideas, and French intellectual and cultural history. Faber have been Pierre Boulez's publisher since 1986 - previous books include Orientations, Boulez on Music Today and Boulez on Conducting.
Praise for Orientations
'Perhaps the most comprehensive and provocative statement of an aesthetic position mustered by a musician since Schoenberg.' New Statesman
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