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Modernism has remained a pivotal focus of debate in musicology well into the twenty-first century, and recent critiques have failed to dampen its resilience. However, the picture of modernism has considerably broadened and diversified. As well as new approaches to areas that are relatively familiar, this book explores the less established topics in modernist studies; among them: modernism and affect, modernism and comedy, modernism versus the 'contemporary', and the crucial distinction between modernism in popular culture and a 'popular modernism', a modernism of the people. This volume seeks to define modernism in music by probing its margins as much as by restating its supposed essence.
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