A32=Andrew Mead
A32=Arved Ashby
A32=Greg Sandow
A32=Jeremy Tambling
A32=Jonathan W. Bernard
A32=Judith Lochhead
A32=Lloyd Whitesell
A32=Professor Amy Bauer
A32=Professor Fred Maus
Aesthetics
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B01=Arved Ashby
Category1=Non-Fiction
Category=AVGC6
Category=AVLA
COP=United States
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Film music
Individualism
Language_English
Listening grammar
Meaning
Metaphor
Modernist music
Musical discourse
PA=Available
Price_€20 to €50
PS=Active
Reception
Sexuality
softlaunch
Product details
- ISBN 9781580463751
- Weight: 587g
- Dimensions: 152 x 229mm
- Publication Date: 01 Nov 2010
- Publisher: Boydell & Brewer Ltd
- Publication City/Country: US
- Product Form: Paperback
- Language: English
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An exploration of the meaning and reception of "modernist" music.
The debate over modernist music has continued for almost a century: from Strauss's Elektra and Webern's Symphony Op.21 to John Cage's renegotiation of musical control, the unusual musical practices of the Velvet Underground, and Stanley Kubrick's use of Ligeti's Lux Aeterna in the epic film 2001. The composers discussed in these pages -- including Bartók, Stockhausen, Bernard Herrmann, Steve Reich, and many others -- are modernists inthat they are defined by their individualism, whether covert or overt, and share a basic urge toward redesigning musical discourse.
The aim of this volume is to negotiate a varied and open middle ground between polemical extremes of reception. The contributors sketch out the possible significance of a repertory that in past discussions has been deemed either meaningless or beyond describable meaning. With an emphasis on recent aesthetics and contexts-- including film music, sexuality, metaphor, and ideas of a listening grammar -- they trace the meanings that such works and composers have held for listeners of different kinds. None of them takes up the usual mandate of "educated listening" to modernist works: the notion that a person can appreciate "difficult" music if given enough time and schooling. Instead the book defines novel but meaningful avenues of significance for modernist music, avenues beyond those deemed appropriate or acceptable by the academy. While some contributors offer new listening strategies, most interpret the listening premise more loosely: as a metaphor for any manner of personal and immediate connection with music. In addition to a previously untranslated article by Pierre Boulez, the volume contains articles (all but one previously unpublished) by twelve distinctive and prominent composers, music critics, and music theorists from America, Europe, Australia, and South Africa: Arved Ashby, Amy Bauer, William Bolcom, Jonathan Bernard, Judy Lochhead, Fred Maus, Andrew Mead, Greg Sandow, Martin Scherzinger, Jeremy Tambling, Richard Toop, and Lloyd Whitesell.
Arved Ashby is Associate Professor of Music at the Ohio State University.
