This collection of essays and interviews addresses important
theoretical, philosophical and creative issues in Western art music
at the end of the twentieth- and the beginning of the twenty-first
centuries. Edited by Max Paddison and Irene Deliege, the book
offers a wide range of international perspectives from prominent
musicologists, philosophers and composers, including Celestin
Deliege, Pascal Decroupet, Richard Toop, Rudolf Frisius, Alastair
Williams, Herman Sabbe, FranAois Nicolas, Marc Jimenez, Anne
Boissiere, Max Paddison, Hugues Dufourt, Jonathan Harvey, and new
interviews with Pierre Boulez, Brian Ferneyhough, Helmut
Lachenmann, and Wolfgang Rihm. Part I is mainly theoretical in
emphasis. Issues addressed include the historical rationalization
of music and technology, new approaches to the theorization of
atonal harmony in the wake of Spectralism, debates on the 'new
complexity', the heterogeneity, pluralism and stylistic
omnivorousness that characterizes music in our time, and the
characterization of twentieth-century and contemporary music as a
'search for lost harmony'. The orientation of Part II is mainly
philosophical, examining concepts of totality and inclusivity in
new music, raising questions as to what might be expected from an
autonomous contemporary musical logic, and considering the problem
of the survival of the avant-garde in the context of postmodernist
relativism. As well as analytic philosophy and cognitive
psychology, critical theory features prominently, with theories of
social mediation in music, new perspectives on the concept of
musical material in Adorno's late aesthetic theory, and a call for
'an aesthetics of risk' in contemporary art as a means 'to reassert
the essential role of criticism, of judgment, and of evaluation as
necessary conditions to bring about a real public debate on the art
of today'. Part III offers creative perspectives, with new essays
and interviews from important contemporary composers who have mad
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