Full Description
Profound transformations in the composition, performance and reception of modernist music have taken place in recent decades. This collection brings fresh perspectives to bear upon key questions surrounding the forms that musical modernism takes today, how modern music is performed and heard, and its relationship to earlier music. In sixteen chapters, leading figures in the field and emerging scholars examine modernist music from the inside, in terms of changing practices of composition, musical materials and overarching aesthetic principles, and from the outside, in terms of the changing contextual frameworks in which musical modernism has taken place and been understood. Shaped by a 'rehearing' of modernist music, the picture that emerges redraws the map of musical modernism as a whole and presents a full-scale re-evaluation of what the modernist movement has all been about.
Contents
Introduction Julian Johnson and Erling E. Guldbrandsen; Part I. Rethinking Modernism: 1. The lure of the sublime: revisiting the modernist project Susan McClary; 2. Return of the repressed: particularity in early and late modernism Julian Johnson; 3. Expressionism revisited: modernism beyond the twentieth century Arnold Whittall; 4. Erik Bergman, cosmopolitanism and the transformation of musical geography Björn Heile; 5. Sharing a stage: the growing proximity between modernism and popular music David Metzer; Part II. Rewriting Modernism: 6. Ritual and Eros in James Dillon's Come live with me Michael Cherlin; 7. Montage in modernity: scattered fragments, dynamic fragments Jean-Paul Olive; 8. Transformations of appearance: suddenness and the modernist fragment Marion Hestholm; 9. Rethinking Boulez: schemes, logics and paradigms of musical modernity Edward Campbell; 10. Remembrance and prognosis in the music of György Ligeti Peter Edwards; 11. Valentin Silvestrov and the symphonic monument in ruins Samuel Wilson; Part III. Replaying Modernism: 12. Playing with transformations: Boulez's Improvisation III sur Mallarmé Erling E. Guldbrandsen; 13. Performance as critique Arnulf Christian Mattes; 14. 'Unwrapping' the voice: Cathy Berberian and John Cage's Aria Francesca Placanica; 15. Radically idiomatic instrumental practice in works by Brian Ferneyhough Anders Førisdal; 16. The ethics of performance practice in complex music after 1945 Tanja Orning.
