Table of Contents
Anthology Repertoire xii
Series Editor's Preface xv
Author's Preface xvii
Chapter 1 A Sense of Possibility 1
Tangled Chaos and the Blank Page 2
Modern, Modernism, Modernity 3
Becoming a "Possibilist" 5
New Possibilities and Perspectives 6
For Further Reading 11
Part I From the Turn of the Twentieth Century through World War I
Chapter 2 Expanding Musical Worlds 16
New Inner and Outer Landscapes 17
Modernism, Modernity, and "Systems of Happiness and Balance" 18
Gustav Mahler and the Symphony as World 21
Alma Mahler and the New Woman 24
Debussy, Symbolism, Exoticism, and the Century of Aeroplanes 26
For Further Reading 33
Chapter 3 Making New Musical Languages 35
Atonality, Post-Tonality, and the Emancipation of the Dissonance 36
Busoni's New Aesthetic of Music 38
Futurism and The Art of Noises 39
Strauss and Referential Tonality 42
Skryabin's New Harmonic Structures 43
Sehoenberg, Berg, and Webern 45
For Further Reading 54
Chapter 4 Folk Sources, the Primitive, and the Search for Authenticity 56
Locating the Folk 57
Sibelius: Creating Finnishness 58
Ives's America 61
Primitivism and the Folk 64
Bartók and the Search for a Mother Tongue 67
Stravinsky, Russianness, and the Folk Estranged 70
For Further Reading 76
Part II The Interwar Years
Chapter 5 New Music Taking Flight 82
Europe and America after the War 85
Radio, Recording, and Film 90
Music for Use 92
New Instruments, the Sounds of the City, and Machine Art 92
Jazz, Race, and the New Music 95
For Further Reading 101
Chapter 6 Paris, Neoclassicism, and the Art of the Everyday 103
Neoclassicism 105
Musical High Life and Low Life 107
Music and Cultural Politics 110
Antiquity and Ritual 112
Eighteenth-Century Sources 114
Tonality Defamiliarized 115
The Art of the Everyday 118
Jazz and "The Primitive" 120
For Further Reading 123
Chapter 7 The Search for Order and Balance 124
Cultural Politics of the Search for Order 125
The Twelve-Tone Method 127
New Approaches to Rhythm, Texture, and Form 136
New Tonalities 142
For Further Reading 146
Chapter 8 Inventing Traditions 148
Villa-Lobos and Brasilidade 149
Vaughan Williams and "Englishness" 153
The Borders of American Music 156
Copland and the American Landscape 157
Still and the African-American Experience 161
McPhee's Imaginary Homeland in Bah 163
For Further Reading 166
Part III World War II and Its Aftermath
Chapter 9 Rebuilding amid the Ruins 172
Social Transformations 175
Britten's War Requiem 176
Musical Ramifications of the Cold War 181
Shostakovich's String Quartet No. 8 183
For Further Reading 189
Chapter 10 Trajectories of Order and Chance 190
Post-World War II Contexts 191
Twelve-Tone Composition after World War II 192
Integral Serialism 193
Chance, Indeterminacy, and the Blank Page 199
For Further Reading 211
Chapter 11 Electronic Music from the Gold War to the Computer Age 212
Music, Science, and Technology in the Cold war 214
Manipulating Sound in the Studio 217
Musique Concrète 222
Notating, Analyzing, and Listening to Electronic Music 223
Synthesizers 224
Computer Music 228
For Further Reading 232
Part IV From the 1960s to the Present
Chapter 12 Texture, Timbre, Loops, and Layers 235
Origins of Texture Music 236
Ligeri's Sonorous Textures and Micropolyphony 238
Textual Approaches in the Music of Stockhausen and Boulez 240
Mathematical Models 242
Timbre and Extended Techniques 246
Composing with Layers 251
For Further Reading 255
Chapter 13 Histories Recollected and Remade 257
The Past in the Present 258
Quotation, Protest, and Social Change 260
Postmodernism 266
Remaking Traditions 272
For Further Reading 276
Chapter 14 Minimalism and Its Repercussions 278
Origins and Locales 280
Minimalist Art and Musical Processes 283
Minimalist Sources 288
Pathways of Postminimalism 293
For Further Reading 297
Chapter 15 Border Crossings 299
Global Encounters 300
Music In-Between 301
Multimedia and Sound Art 302
Music, Science, and Technology 303
Artist and Audience 304
For Further Reading 305
Glossary A1
Endnotes A10
Credits A22
Index A25
