This book explores the crossroads between autobiographical narratives and musical composition in Alban Berg's Lulu, unveiling aspects of encoded social customs, gender identity, and personal experiences within musical structures. Exploring the crossroads between autobiographical narrative and musical composition, this book examines Berg's transformation of Frank Wedekind's Erdgeist and Die Buchse der Pandora -- the plays used in the formationof the libretto for Lulu -- according to notions of gender identity, social customs, and the aesthetics of modernity in the Vienna of the 1920s and 1930s. While Berg modernized several aspects of the plays and incorporatedserial techniques of composition from Arnold Schoenberg, he never let go of the idealistic Wagnerian perspectives of his youth. In fact, he went as far as reconfiguring aspects of Richard Wagner's life as an ideal identity to beplayed out in the compositional process. In composing the opera, Berg also reflected on the most important cultural figures in fin-de-siecle Vienna that affected his worldview, including Karl Kraus, Emil Lucka, Otto Weininger, andothers. Combining analysis of Berg's correspondence, numerous sketches for Lulu, and the finished work with interpretive models drawn from cultural studies and philosophy, this book elucidates the ways in which Berg grappled at the end of his life with his self-image as an "incorrigible romantic," and explains aspects of his musical language that have been considered strange or anomalous in Berg scholarship. Silvio J. dos Santos isassistant professor of musicology at the University of Florida.

The Differentiation of Modernism analyzes the phenomenon of intermediality in German radio plays, film music, and electronic music of the late modernist period (1945-1980). After 1945, the purist "medium specificity" of high modernism increasingly yielded to the mixed forms of intermediality. Theodor Adorno dubbed this development a "Verfransung," or "fraying of boundaries," between the arts. TheDifferentiation of Modernism analyzes this phenomenon in German electronic media arts of the late modernist period (1945-80): in radio plays, film music, and electronic music. The first part of the book begins with a chapter on Adorno's theory of radio as an instrument of democratization, going on to analyze the relationship of the Hoerspiel or radio play to electronic music. In the second part, on film music, a chapter on Adorno and Eisler's Composing for the Film sets the parameters for chapters on the film Das Madchen Rosemarie (1957) and on the music films of Jean-Marie Straub and Daniele Huillet. The third part examines the music of Karlheinz Stockhausen and its relationship to radio, abstract painting, recording technology, and theatrical happenings. The book's central notion of the "differentiation of culture" suggests that late modernism, unlike high modernism, accepted the contingency of modern mass-media driven society and sought to find new forms for it. Larson Powell is Curator's Professor of Film Studies at University of Missouri, Kansas City. He is the author of The Technological Unconscious in German Modernist Literature (Camden House, 2008).

The first extended study of seven beloved French symphonic masterpieces, from Saint-Saens and Franck to d'Indy and Dukas. In this first full-length study of the symphony in late nineteenth- and early twentieth-century France, Andrew Deruchie provides extended critical discussion of seven of the most influential and frequently performed works of the era, by Camille Saint-Saens, Cesar Franck, Edouard Lalo, Vincent d'Indy, and Paul Dukas. The volume explores how these symphonists modernized the art form yet preserved many of the formal and rhetorical conventions of the canon, reconciling, in particular, Beethoven's symphonic legacy with the musical culture, intellectual environment, and political milieu of fin-de-siecle France. Drawing on contemporary criticism, music histories, composers' prose, and unpublished sketches, Deruchie's readings offer fresh insights on issues of musical form and technique, and also move beyond the notes to consider questions of meaning. Andrew Deruchie is a lecturer in musicology at the University of Otago (New Zealand).

Since the time of his death, Dmitri Schostakovich's place in the pantheon of 20th century composers has become more commanding and more celebrated, while his musical legacy, with all its wonderfully varied richness, is performed with increasing frequency throughout the world. This seemingly endless surge of interest can be attributed , at least in part, to 'Testimony'. The powerful memoirs the ailing composer dictated to the young Russian musicologist Solomon Volkov.

Stravinsky in Context offers an alternative to chronological biography. Thirty-five short, specially commissioned essays explore the eventful life-tapestry from which Stravinsky's compositions emerged. The opening chapters draw on new research into the composer's childhood in St. Petersburg. Stravinsky's early, often traumatic upbringing is examined in depth, particularly in the context of his brother Roman's death, and religious sensibilities within the family. Further essays consider Stravinsky's years in exile at the centre of dynamic and ever-evolving cultural environments, the composer constantly refining his idiom and re-defining his aesthetics against a backdrop of world events and personal tragedy. The closing chapters review new material regarding Stravinsky's complicated relationship with the Soviet Union, whilst also anticipating his legacy from the varied perspectives of publishing, research and even - in the iconic example of The Rite of Spring - space exploration. The book includes previously unpublished images of the composer and his family.

The first historical and critical study of neoclassicism from the genesis of the concept in fin de siecleFrance in the 1870s through the Schoenberg/Stravinsky polemic. By the end of the nineteenth century the traits of "classicism" in music had become clearly established. This codification cast long shadows over contemporary artists, encouraging a movement away from order, continuity and tradition towards freedom, innovation and novelty - and the term neoclassicism made its first appearance. This study, the first ever critical examination of "neoclassicism" in music, provides a broad cultural context for the investigation of its origins, then looks in turn at Wagner and the French reaction to him; Saint-Saens, d'Indy, Debussy, Ravel and their French contemporaries; Germany and France in the decade which includes the First World War, with special reference to Thomas Mann and Ferrucio Busoni, and to Jean Cocteau and the "New Simplicity"; and Igor Stravinsky, the composer most frequently cited in connection with this term. Reprint; first published 1988.

The composer Witold Lutostawski (born 1913) is one of the outstanding musical personalities of the twentieth century. In this critical biography Steven Stucky traces Lutostawski's development from the Stravinsky-influenced music of his student days to his emergence in the 1960s as a leading avant-gardist. Since the vicissitudes of cultural life in his native Poland have profoundly affected the composer's career, the book includes detailed accounts of Lutostawski's official censure for 'formalism' in the late 1940s and the leading role he later played in a flourishing Polish modernist movement. Both well-known works, such as the Concerto for Orchestra, Trois poemes d'Henri Michaux and the Second Symphony, and the lesser-known early music are considered in detail. Fragments of many compositions never before published in the West are included. There are also analytical summaries of each major work from Jeux veitiens (1961) to Mi-parti (1976).

The story of a fascinating, controversial man who influenced almost every sphere of musical life in Britain and helped to change the face of music performance and education in this country. George Dyson (1883-1964) was a highly influential composer, educator and administrator, whose work touched the lives of millions. Yet today, apart from his Canterbury Pilgrims and two sets of canticles for Choral Evensong, his music is little known. In this comprehensive and detailed study, based not only on Dyson's own writings but on unpublished papers, personal correspondence, and interviews with his family and friends, Paul Spicer brings this remarkable man and his lyrical, passionate and engaging music to life once more. Born into a working class family in Halifax, West Yorkshire, he rose from humble beginnings to become the voice of public school music in Britain and Director of the RCM. As a scholarship student, he met and studied with some of the leading musicians of the day, including Sir Charles Villiers Stanford and Sir Hubert Parry. He went on to work in some of the country's greatest schools, where he established his reputation as a composer, particularly of choral and orchestral works, of which Quo Vadis was his most ambitious. A member of the BBC Brains Trust panel, Dyson was also the 'voice of music' on the radio for a number of years and helped to educate the nation through his regular broadcasts. A fascinating, controversial man, George Dyson touched almost every sphere of musical life in Britain and helped to change the face of music performance and education in this country. This seminal book, examining every aspect of his long, colourful career, re-establishes him as the towering figure he undoubtedly was in his time. PAUL SPICER was a composition student of Herbert Howells, whose biography he wrote in 1998. He is well-known as a choral conductor especially of British Music of the twentieth century onwards, a writer, composer, teacher, and producer.

Leading authorities explore, in direct and accessible language, chamber-music masterpieces by twenty-one prominent composers since 1900. Modern composers as diverse as Bela Bartok, Maurice Ravel, Benjamin Britten, and John Cage have confided some of their most personal and intense thoughts to the medium of the string quartet. The resulting repertoire has won the allegiance of string players-and of listeners in the concert hall and at home. Yet, until now, no book has addressed the language of these remarkable works, their interactions with the masterpieces of Beethoven and others, and theirnew approaches to musical expression. Intimate Voices, organized in rough chronological order, offers the observations and intuitions of leading authorities on quartets by twenty-one composers from eleven countries. Its two volumes-available separately or together-comprise an indispensable guide to amateur and professional chamber musicians, scholars, students, and anyone seeking a deeper acquaintance with the great achievements of twentieth-century music. Edited by Evan Jones, Associate Professor of Music Theory, Florida State University College of Music.

Academic attention has focused on America's influence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900-1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period - from modernity and gender relations to new technology and new media - and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core.

The German lied, or art song, is considered one of the most intimate of all musical genres-often focused on the poetic speaker's inner world and best suited for private and semi-private performance in the home or salon. Yet, problematically, any sense of inwardness in lieder depends on outward expression through performance. With this paradox at its heart, Intimacy, Performance, and the Lied in the Early Nineteenth Century explores the relationships between early nineteenth-century theories of the inward self, the performance practices surrounding inward lyric poetry and song, and the larger conventions determining the place of intimate poetry and song in the public concert hall. Jennifer Ronyak studies the cultural practices surrounding lieder performances in northern and central Germany in the first quarter of the nineteenth century, demonstrating how presentations of lieder during the formative years of the genre put pressure on their sense of interiority. She examines how musicians responded to public concern that outward expression would leave the interiority of the poet, the song, or the performer unguarded and susceptible to danger. Through this rich performative paradox Ronyak reveals how a song maintains its powerful intimacy even during its inherently public performance.

The first English work dealing in detail with the life and musical influences of the Italian composer Luigi Dallapiccola (1904-1975). Luigi Dallapiccola (1904-1975) was one of the most important Italian composers of the twentieth century. As well as writing several operas, he composed a large number of works in which the human voice, whether in solo or in chorus, plays an important role. Dallapiccola also set texts by writers as diverse as James Joyce, Salvatore Quasimodo, Antonio Machado, Goethe, and Heine. This book is the first in English to deal with Dallapiccola as a whole, from thefirst, hesitant vocal compositions of his student years up to the works of his last decade, in which Italian lyricism is combined with great formal rigor. The author suggests that Dallapiccola should be understood not only as aninfluential figure in the post-war developments of Italian music, but also as one who renewed and revitalized the older traditions of Italian music. Raymond Fearn is Professor of Music, Keele University.

A new biography of which paints the most well-rounded and factually accurate portrait of the composer to date Ralph Vaughan Williams ranks among the most versatile, influential, and enduringly popular British musicians of his era. Throughout his wide-ranging career-as composer, conductor, editor, scholar, folksong collector, teacher, author, administrator, and philanthropist-Vaughan Williams worked tirelessly to improve the standards and quality of British musical life. His dedicated work ethic and fastidious attention to musical detail helped him forge a compelling and original expressive idiom grounded in a profound understanding of musical history and tradition, popularized in concert staples like the Tallis Fantasia, The Lark Ascending, A London Symphony, the Songs of Travel, and the Serenade to Music. Drawing upon both recent scholarship and newly accessible scores and correspondence, author Eric Saylor interweaves in Vaughan Williams an exploration of the composer's life - including new insights about his early career, military service in the Great War, and relationships with the women he loved and married - with chapters surveying his enormous body of music, spanning hymn tunes to operas, keyboard etudes to solo concerti, wind band music for amateurs to perhaps the finest symphonic cycle of the twentieth century. The resulting portrait reveals Vaughan Williams's complex artistry and dynamic personality, a portrayal often at odds with the avuncular persona of "Uncle Ralph" familiar to the public. This contemporary reassessment of the composer's life and works provides a concise and engaging overview of both, positioning Vaughan Williams as an artist of rare skill, sensitivity, and human insight.

One of today's most widely acclaimed composers, Arvo Part broke into the soundscape of the Cold War West with Tabula Rasa in 1977, a work that introduced his signature tintinnabuli style to listeners throughout the world. In the first book dedicated to this pathbreaking composition, author Kevin C. Karnes tells the story of Tabula Rasa as one of Part and of Europe itself, traced over the course of a quarter-century that saw momentous transitions in European culture and politics, history and memory. Beginning at the site of the work's creation in the Estonian SSR, and drawing extensively upon a range of previously unexamined archival materials, Karnes recounts Part's discovery of tintinnabuli amidst his experiments with the music of the Western and Soviet avant-gardes. He examines Tabula Rasa in relation to modernist conceptions of musical structure, the ascetic practice of Orthodox Christianity, postwar experiences of electronic music, and the polystylistic approaches to composition that have become emblematic of the Soviet 1970s. Tracing the export of Tabula Rasa to the West and Part's emigration in 1980, the book reveals intersections of critical commentary with visions of the "end of history" that attended the collapse of European communism to suggest that it was in this confluence of listening, discovery, and geopolitical reordering that enduring lines of conversation about Part and his music took shape.

Materials and Techniques of Post-Tonal Music, Fifth Edition provides the most comprehensive introduction to post-tonal music and its analysis available. Covering music from the end of the nineteenth century through the beginning of the twenty-first, it offers students a clear guide to understanding the diverse and innovative compositional strategies that emerged in the post-tonal era, from Impressionism to computer music. This updated fifth edition features: chapters revised throughout to include new examples from recent music and insights from the latest scholarship; the introduction of several new concepts and topics, including parsimonius voice-leading, scalar transformations, the New Complexity, and set theory in less chromatic contexts; expanded discussions of spectralism and electronic music; timelines in each chapter, grounding the music discussed in its chronological context; a companion website that provides students with links to recordings of musical examples discussed in the text and provides instructors with an instructor's manual that covers all of the exercises in each chapter. Offering accessible explanations of complex concepts, Materials and Techniques of Post-Tonal Music, Fifth Edition is an essential text for all students of post-tonal music theory.

In 1983, French-Canadian composer Claude Vivier was murdered in Paris at the age of thirty-four. Based on unrestricted access to Vivier's personal archives, this book is the first to tell his story. Claude Vivier's haunting and expressive music has captivated audiences around the world. But the French-Canadian composer is remembered also because of the dramatic circumstances of his death: he was found murdered in his Paris apartment at the age of thirty-four. Given unrestricted access to Vivier's archives and interviews with Vivier's family, teachers, friends, and colleagues, musicologist and biographer Bob Gilmore tells here the full story of Vivier's fascinating life, from his abandonment as a child in a Montreal orphanage to his posthumous acclaim as one of the leading composers of his generation. Expelled from a religious school at seventeen for "lack of maturity," Vivier gave up his ambition to join the priesthood to study composition. Between 1976 and 1983 Vivier wrote the works on which his reputation rests, including Lonely Child, Bouchara, and the operas Kopernikus and Marco Polo. He was also an outspoken presence in the Montreal arts world and gay scene. Vivier left Quebec for Paris in 1982 to work on a new opera, the composition of which was interrupted by his murder. On his desk wasthe manuscript of his last work, uncannily entitled "Do You Believe in the Immortality of the Soul." Vivier's is a tragic but life-affirming story, intimately connected to his passionate music. Bob Gilmore was a notedmusicologist and performer who taught at Brunel University in London. He wrote or edited five previous books, including Harry Partch: A Biography.

A selection of twenty-eight of Luke Howard's favourite and most requested compositions for solo piano, including Portrait Gallery and In Metaphor, Solace. Faber Music presents this beautiful book of scores and photographs, matching the sold-out first edition. These wonderful neo-classical style pieces are ideal for intermediate to advanced level pianists.

What is experimental music today? This book offers an up to date survey of this field for anyone with an interest, from seasoned practitioners to curious readers. This book takes the stance that experimental music is not a limited historical event, but is a proliferation of approaches to sound that reveals much about present-day experience. An experimental work is not identifiable by its sound alone, but by the nature of the questions it poses and its openness to the sounding event. Experimentation is a way of working. It pushes past that which is known to discover what lies beyond it, finding new knowledge, forms, and relationships, or accepting a state of uncertainty. For each of these composers and sound artists, craft is developed and transformed in response to the questions they bring to their work. Scientific, perceptual, or social phenomena become catalysts in the operation of the work. These practices are not presented according to a chronology, a set of techniques, or social groupings. Instead, they are organized according to the content areas that are their subjects, including resonance, harmony, objects, shapes, perception, language, interaction, sites, and histories. Musical materials may be subject, among other treatments, to systemization, observation, examination, magnification, fragmentation, translation, or destabilization. These restless and exploratory modes of engagement have continued to develop over recent decades, expanding the scope of both musical practice and listening.

The spectacular revival of serious music in England is a chief feature of the history of British culture from the turn of the twentieth century and after. For some two centuries the art form had stagnated in England, which was referred to, notoriously, by a German commentator as 'the land without music'. But then came a great renaissance. In the three linked essays that make up this book, Keith Alldritt, the most recent biographer of Vaughan Williams, examines the several phases and genres of this revival. A number of composers including Gustav Holst, Arnold Bax and William Walton contributed to the renewal. But this book presents the renaissance as centrally a continuity of enterprise, sometimes of riposte, running from Elgar to Vaughan Williams and then to Benjamin Britten. Their concern was with music at its most serious, though not unceasingly humourless. All three explored music's frontier with philosophy. They also probed the psychological impact of the unprecedently violent and destructive century in which they practised their art. Going beyond musicological comment, England Resounding essays insights into the historical, geopolitical and personal events that elicited the major works of these three great composers.

Master interviewer Balint Andras Varga poses three probing questions to renowned contemporary composers about their work, and carefully renders their answers in their own words. Do today's composers draw inspiration from life experiences or from, say, the natural world? What influences, past and present, have influenced recent composers? How essential is it for a composer to develop a personal style, and when does this degenerate into self-repetition? These are questions about which some of the most important composers of the late twentieth and early twenty-first century often have quite strong feelings--but have seldom been asked. In this pathbreaking book, Balint Andras Varga puts these three questions to such renowned composers as Luciano Berio, Pierre Boulez, Alberto Ginastera, Sofia Gubaidulina, Hans Werner Henze, Helmut Lachenmann, Gyoergy Ligeti, Witold Lutoslawski, Luigi Nono, Krzysztof Penderecki, Wolfgang Rihm, Karlheinz Stockhausen, Toru Takemitsu, and Iannis Xenakis. Varga's sensitive English renderings capture the subtleties of their sometimes confident, sometimes hesitant, answers. All statements from English-speaking composers -- such as Milton Babbitt, John Cage, Elliott Carter, Sir Peter Maxwell Davies, Morton Feldman, Lukas Foss, Steve Reich, Gunther Schuller, andSir Michael Tippett -- consist of the composers' own carefully chosen words. Three Questions for Sixty-Five Composers is vital reading for anybody interested in the current state of music and the arts. TheHungarian music publisher Balint Andras Varga has spent nearly forty years working for and with composers. He has published several books, including extensive interviews with Lutoslawski, Berio, and Xenakis. His previous book forthe University of Rochester Press is Gyoergy Kurtag: Three Interviews and Ligeti Homages.

American composer John Cage (1912-1992) was without doubt one of the most important and influential figures in twentieth-century music. He spent much of his career in pursuit of an unusual goal--"giving up control so that sounds can be sounds", as he put it. As well as composing around 300 works, he was also a prolific performer, writer, poet, and visual artist. This Companion celebrates the richness and diversity of Cage's achievements and provides readers with a fully rounded portrait of a fascinating figure.

Part of the ALL-NEW LADYBIRD EXPERT SERIES. ____________ How did modern classical music develop over the 20th Century? What enabled women to get their music performed in the early 1900s? Which classical composers borrowed from jazz? How did composers respond to politics and war? DISCOVER the stories behind Mahler's, Symphony No. 5 (1901-2), Ullman's Piano Sonata No. 7 (1944), Bernstein's West Side Story (1957), as well as learn about minimalism, jazz, swing, opera . . . AND UNDERSTAND TWENTIETH CENTURY CLASSICAL MUSIC. Discover the answers and more inside Fiona Maddocks' Twentieth Century Classical Music, the thrilling and accessible account that explains what happened throughout the 20th century, who the key composers were and what influenced them to write what they did?

The first English-language book on Czerny, and the broadest survey of his activity in any language. Within the history of European music, Carl Czerny (1791-1857) is simultaneously all too familiar and virtually invisible. During his lifetime, he was a highly successful composer of popular piano music, and his pedagogical works remain fundamental to the training of pianists. But Czerny's reputation in these areas has obscured the remarkable breadth of his activity, and especially his work as a composer of serious music, which recent performances and recordings have shown to hold real musical interest. Beyond "The Art of Finger Dexterity" explores Czerny's multifaceted career and its legacy and provides the first broad assessment of his work as a composer. Prominent North American and European musicians and scholars explore topics including Czerny's life and its context; his autobiographical writings and efforts to promote his teacher, Beethoven; his activity as a pedagogue, both as teacher of Liszt and as the authority held up to innumerable amateur women pianists; his role in shaping performance traditions of classical music; the development of his image during and after his lifetime; and his work in genres including the Mass, the symphony, the string quartet, and the piano fantasy. This is the first English-language book on Czerny, and the broadest survey of his activity in any language. Contributors: George Barth, Otto Biba, Attilio Bottegal, Deanna C. Davis, James Deaville, Ingrid Fuchs, David Gramit, Alice M. Hanson, Anton Kuerti, Marie Sumner Lott, James Parakilas, Michael Saffle, Franz A. J. Szabo, Douglas Townsend, and John Wiebe. DavidGramit [University of Alberta] is the author of Cultivating Music: The Aspirations, Interests, and Limits of German Musical Culture, 1770-1848.

Facsimile of the composition draft of Peter Grimes, showing Britten's compositional method; companion volume containing essays on its history and significance. Peter Grimes, Benjamin Britten's first opera, established his stature as a composer, marked a turning point in the fortunes of English opera, and conquered operatic stages around the world. Though its setting and music reflect Britten's greatlove for his native East Anglia, the inspiration for the work was a chance encounter with the poetry of George Crabbe while Britten and the tenor Peter Pears (who eventually created the title role) were stayingin California in 1941; they made a number of draft scenarios while they waited for a passage to England, and after their return Montagu Slater was asked to write the libretto. The full score was completed by February 1945. The single document that reveals most about the work's creative history is the composition draft in which the composer wrestled with text and music, gradually fashioning the opera into its final version. The colour facsimile of this fascinating manuscript is published to coincide with the 50th anniversary of its first production. It is accompanied by a commentary volume containing a series of essays on the work's history and its contemporary significance by leading Britten scholars, together with a brief note on the work by PETER PEARS(apparently never before published) and an account of the first production by the late ERIC CROZIER, who directed it. The volume is illustrated with colour reproductions of some of the original costume designs by Kenneth Green, his portrait of BenjaminBritten, and contemporary black and white photographs.