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Ladataan... Modern Music and AfterTekijä: Paul Griffiths
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Kirjaudu LibraryThingiin nähdäksesi, pidätkö tästä kirjasta vai et. Ei tämänhetkisiä Keskustelu-viestiketjuja tästä kirjasta. This new version of the book Modern Music maintains its earlier two-part structure, and adds to it a third part concerning music since the late 1970s. The three parts cover roughly equal periods of time, but not at equal length, for various reasons. With the passage of time, music grows, enriched by performance, by interpretation, by the effect it has on subsequent music: the music of the late 1940s and 1950s thereby commands more attention here than the spring grass of the 1990s. Also, that immediate postwar music is unusually big in its achievements, deep in its questions, and long in its implications. Just as a book on the music of the first half of the nineteenth century would have to give disproportionate weight to the period up to 1828, so this one is bottom-heavy. näyttää 2/2 ei arvosteluja | lisää arvostelu
Viittaukset tähän teokseen muissa lähteissä. Englanninkielinen Wikipedia (15)Over three decades, Paul Griffiths's survey has remained the definitive study of music since the Second World War; this fully revised and updated edition re-establishes Modern Music and After as the preeminent introduction to the music of our time. The disruptions of the war, and the struggles of the ensuing peace, were reflected in the music of the time: in Pierre Boulez's radical reformation of compositional technique and in John Cage's development of zen music; in Milton Babbitt's settling of the serial system and in Dmitry Shostakovich's unsettling symphonies; in Karlheinz Stockhausen's development of electronic music and in Luigi Nono's pursuit of the universally human, in Iannis Xenakis's view of music as sounding mathematics and in Luciano Berio's consideration of it as language. The initiatives of these composers and their contemporaries opened prospects that haven't yet stopped unfolding. This constant expansion of musical thinking since 1945 has left us with no singular history of music; Griffiths's study accordingly follows several different paths, showing how and why they converge and diverge. This new edition of Modern Music and After discusses not only the music of the fifteen years that have passed since the previous edition, but also the recent explosion of scholarly interest in the latter half of the twentieth century. In particular, the book has been expanded to incorporate the variety of responses to the modernist impasse experienced by composers of the 1980s and 1990s. Griffiths then moves the book into the twenty-first century as he examines such highly influential composers as Helmut Lachenmann and Salvatore Sciarrino. For its breadth, wealth of detail, and characteristic wit and clarity, the third edition of Modern Music and After is required reading for the student and the enquiring listener. Kirjastojen kuvailuja ei löytynyt. |
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Or did it? I suspect that in a hundred years much of the chaff will have been winnowed out and a book like this will have a discrete, easy to follow narrative all the way through. On the other hand, it'll leave out a bunch of interesting stuff. I wish Griffiths had said a bit more about all the indie-punkish types combining minimalism, noise, composition and generally dark-toned cover-art, but then I've never read anything that does say much about them. As ever, classical music buffs treat album centered music poorly. Griffiths seems to regard the latter as more or less reactionary (McCartney), which it sometimes is. But sometimes it's really great.
Nice bonuses include Griffiths' prose, the way he's willing to discuss the social implications and motivations to musical change, and his points in the later chapter about how changes in media have aesthetic effects. Soon we'll be able to download individual pieces rather than having to download albums including one piece we want to hear and some guff in which we have no interest. One day. ( )