New Music and the Claims of Modernity
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1973a
A01=Alastair Williams
adorno
Adorno 1984a
Adorno analysis
adorno's
Adorno's Aesthetics
Adorno's Opinion
Adorno's Philosophy
Adorno's Theory
Adorno's Understanding
aesthetic philosophy
aesthetics
Albrecht Wellmer
Author_Alastair Williams
Autonomous Art
avant-garde composers
Category=AV
Category=AVA
Confer
contemporary music aesthetics research
Contemporary Society
critical theory music
De Man
deconstruction in music
Dense
Duration Series
Emancipated Rationality
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
eq_music
eq_nobargain
eq_non-fiction
Finnegans Wake
high
Late Beethoven
Ligeti's Music
Mahler's Music
modernism
Nineteenth Century Music
objects
philosophy
Piano Sonata
postwar composition
Privileged Series
Rehearsal Figure
sound
understanding
Universal Edition
Vice Versa
Waldstein Sonata
Product details
- ISBN 9781138269071
- Weight: 330g
- Dimensions: 156 x 234mm
- Publication Date: 17 Nov 2016
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Paperback
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Since 1945 the emphasis in new music has lain in a desire for progress, a concept challenged by postmodernist aesthetics. In this study, Alastair Williams identifies and explores the recurring issues and problems presented by post-war music. Part one examines the German philosopher, Theodor Adorno's portrayal of modernity and his understanding of modernism in music. This is followed by a survey of the developments in music from late Beethoven to Schoenberg, the two composers whose works provided the main anchor points for Adorno's philosophy of music. Parts two and three indicate the ways in which Adorno's aesthetics are pertinent to an understanding of new music. Part two comprises a close examination of the music of Pierre Boulez and John Cage, composers who represent extreme, though related, aspects of contemporary music thought: the primacy of structure versus dissolution. Williams' views the music of Ligeti as an exploration of the interface between these two extremes, personifying Adorno's advocation of an aesthetic which attempts to embrace all its dissimilar parts. In part three the consequences of modernism and the aesthetic approaches of Derrida and de Mann are considered, together with the music of Wolfgang Rihm. Williams concludes with a survey of contemporary music and the postmodernist desire to include a range of compositional references.
