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There have been far-reaching changes in the way music theorists and
analysts view the nature of their disciplines. Encounters with
structuralist and post-structuralist critical theory, and with
linguistics and cognitive sciences, have brought the theory and
analysis of music into the orbit of important developments in
intellectual history. This book presents the work of a group of
scholars who, without seeking to impose an explicit redefinition of
either theory or analysis, explore the limits of both in this
context. Essays on the languages of analysis and theory, and on
practical issues such as decidability, ambiguity and metaphor,
combine with studies of works by Debussy, Schoenberg, Birtwistle
and Boulez, together making a major contribution to an important
debate in the growth of musicology.
The Quatuor pour la fin du temps (Quartet for the End of Time) is
among the best-known compositions by Olivier Messiaen (1908-92).
Like virtually all of his works, it combines the striking technical
achievement of Messiaen's rich and attractive musical style with a
deeply felt theological inspiration - in this case from the
apocalyptic events described in the Book of Revelation, leading to
the end of Time itself. Composed while Messiaen was a
prisoner-of-war and premiered under extraordinary conditions in
Stalag VIIIA in 1941, the work retains a powerful immediacy that
has made it a favourite of performers and audiences alike. Anthony
Pople's book provides an introduction to Messiaen's style through
an examination of this great work, showing how it came to be
composed and giving an in-depth assessment of each of its eight
movements.
This book is about one musical work, the popular Quartet for the End of Time by the great French composer Olivier Messiaen. Like virtually all of his works, the Quartet combines the striking technical achievement of Messiaen's rich and attractive musical style with a deeply felt theological inspiration. Anthony Pople's book provides an introduction to Messiaen's style through an examination of this great work, showing how it came to be composed while Messiaen was a prisoner-of-war and premiered under extraordinary conditions in Stalag VIIIA in 1941. He gives an in-depth assessment of each of its eight movements.
Alban Berg's achievement is based on an extraordinarily small musical output, but it includes towering masterpieces such as the operas Wozzeck and Lulu, and his last work, the Violin Concerto. These and all Berg's other substantial works are discussed in this wide-ranging Companion, which contains essays written from a variety of historical and critical perspectives, outlining the place of the music in the cultural history of its time and within the broader interplay of twentieth-century fashions, aesthetics and ideas.
There have been far-reaching changes in the way music theorists and
analysts view the nature of their disciplines. Encounters with
structuralist and post-structuralist critical theory, and with
linguistics and cognitive sciences, have brought the theory and
analysis of music into the orbit of important developments in
intellectual history. This book presents the work of a group of
scholars who, without seeking to impose an explicit redefinition of
either theory or analysis, explore the limits of both in this
context. Essays on the languages of analysis and theory, and on
practical issues such as decidability, ambiguity and metaphor,
combine with studies of works by Debussy, Schoenberg, Birtwistle
and Boulez, together making a major contribution to an important
debate in the growth of musicology.
Described by Aaron Copland as 'among the finest creations in the
modern repertoire', Alban Berg's Violin Concerto has become a
twentieth-century classic. In this authoritative and highly
readable guide to the work the reader is introduced not only to the
concerto itself but to all that surrounded and determined its
composition. This is a book about musical culture in the 1930s,
about the Second Viennese School, about tonality, atonality and
serialism, about Berg's own musical development, compositional
method and the private significance the Violin Concerto held for
him. The book describes the genesis of the work, its performance
history and critical reception and, in two detailed musical
chapters, provides a section-by-section account of the book and a
closer analysis of the musical language and structure. Anthony
Pople's ability to combine musical anecdote with scholarly
discussion makes this guide compelling reading for the amateur and
the specialist alike.
The Cambridge History of Twentieth-Century Music, first published
in 2004, is an appraisal of the development of music in the
twentieth century from the vantage-point of the twenty-first. This
wide-ranging and eclectic book traces the progressive fragmentation
of the European 'art' tradition, and its relocation as one
tradition among many at the century's end. While the focus is on
Western traditions, both 'art' and popular, these are situated
within the context of world music, including a case study of the
interaction of 'art' and traditional musics in post-colonial
Africa. An international authorship brings a wide variety of
approaches to music history, but the aim throughout is to set
musical developments in the context of social, ideological, and
technological change, and to understand reception and consumption
as integral to the history of music.
The Cambridge History of Twentieth-Century Music, first published
in 2004, is an appraisal of the development of music in the
twentieth century from the vantage-point of the twenty-first. This
wide-ranging and eclectic book traces the progressive fragmentation
of the European 'art' tradition, and its relocation as one
tradition among many at the century's end. While the focus is on
Western traditions, both 'art' and popular, these are situated
within the context of world music, including a case study of the
interaction of 'art' and traditional musics in post-colonial
Africa. An international authorship brings a wide variety of
approaches to music history, but the aim throughout is to set
musical developments in the context of social, ideological, and
technological change, and to understand reception and consumption
as integral to the history of music.
The world of Alban Berg is full of paradoxes, secrets and
allusions, but he was able to handle emotional and moral issues at
a distance and with profound sympathy. His unhurried, almost
aristocratic attitude to life and his extreme self-criticism in
professional matters resulted in an extraordinarily small musical
output, but it includes towering masterpieces such as the operas
Wozzeck and Lulu, and his last work, the Violin Concerto. All of
Berg's substantial works are discussed in this Companion which
brings together a team of experts who write from a variety of
historical and critical perspectives, outlining the place of the
music in the cultural history of its time and recontextualising it
against the broader twentieth-century interplay of fashions,
aesthetics and ideas.
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