Full Description
This collection of essays delves into the historiographical traditions that have dominated how the stories of European postwar avant-garde music are told, seeking to approach commonplaces of that history writing from new perspectives. The contributors revisit subjects as varied as the impact of long-playing records on the emergence of open works, Messiaen's interest in non-European musical traditions, Xenakis's turn to information theory, Kagel's strategic invention of a new genre, Berio's dependence on funding from American foundations, and the ways in which figures like Boulez, Stockhausen, Pousseur, and Nono constructed their musical ancestries. Leading experts in their respective fields, the volume's authors have sought to rethink the historiography of European experimental music of the 1950s, 1960s, and 1970s in ways that resituate that small but influential milieu in broader historical and cultural contexts. In doing so, they suggest new directions and insights for students and specialists of twentieth-century music and music historiography.
Contents
1 Introduction: Revisiting Old Stories of New Music
Anne-Sylvie Barthel-Calvet and Christopher Brent Murray
2 Recent Histories of Twentieth-Century Music and the Historiographical Tradition
Martin Kaltenecker
3 Continuity in the Creative Auto-Genealogies of Boulez, Stockhausen, Pousseur, and Nono
Pascal Decroupet
4 Inventing a Genre: Mauricio Kagel and Instrumental Theater
Jean-François Trubert
5 The Songs of Koma Pio and Hele Marsiale in Olivier Messiaen's Île de feu Etudes
Christopher Brent Murray
6 A New Patronage Model in Postwar America: Luciano Berio, Philanthropy, and the Economics of Culture
Tiffany Kuo
7 Iannis Xenakis and the Men of Information Theory
Anne-Sylvie Barthel-Calvet
8 Open Works on Record: An Unsung Mediation
Jonathan Goldman
9 Making Audible the Mysteries of Sound: An Alternative Historiography for the Musical Avant-Garde from Varèse to Grisey
Pascal Decroupet
