Many students of renowned composer, conductor, and teacher Ferruccio Busoni had illustrious careers of their own, yet the extent to which their mentor's influence helped shape their success was largely unexplored until now. Through rich archival research including correspondence, essays, and scores, Erinn E. Knyt presents an evocative account of Busoni's idiosyncratic pedagogy-focused on aesthetic ideals rather than methodologies or techniques-and how this teaching style and philosophy can be seen and heard in the Nordic-inspired musical works of Sibelius, the unusual soundscapes of Varese, the polystylistic meldings of music and technology in Louis Gruenberg's radio operas and film scores, the electronic music of Otto Luening, and the experimentalism of Philip Jarnach. Equal parts critical biography and interpretive analysis, Knyt's work compels a reconsideration of Busoni's legacy and puts forth the notion of a "Busoni School" as one that shaped the trajectory of twentieth-century music.

Many students of renowned composer, conductor, and teacher Ferruccio Busoni had illustrious careers of their own, yet the extent to which their mentor's influence helped shape their success was largely unexplored until now. Through rich archival research including correspondence, essays, and scores, Erinn E. Knyt presents an evocative account of Busoni's idiosyncratic pedagogy—focused on aesthetic ideals rather than methodologies or techniques—and how this teaching style and philosophy can be seen and heard in the Nordic-inspired musical works of Sibelius, the unusual soundscapes of Varèse, the polystylistic meldings of music and technology in Louis Gruenberg's radio operas and film scores, the electronic music of Otto Luening, and the experimentalism of Philip Jarnach. Equal parts critical biography and interpretive analysis, Knyt's work compels a reconsideration of Busoni's legacy and puts forth the notion of a "Busoni School" as one that shaped the trajectory of twentieth-century music.

Ferruccio Busoni as Architect of Sound presents the composer as an innovator inspired not only by past musical traditions but also by a contemporary interest in experimentalism. In the twentieth-century, Busoni wrote pieces where sound radiates from different directions, created montage formal structures, and freely used all twelve pitches of the chromatic scale without avoiding consonances. This book reveals how he also applied his understanding of tangible architectural spaces, buildings, and floor plans to his music, reconciling the spatial and temporal divide in music through an interdisciplinary approach. His innovation prompted and inspired new trends in pitch organization, the spatialization of sound, and the expansion of formal structures. Transcending physical boundaries of compositional innovation, Busoni also engaged in a rich exchange of ideas with contemporary architects and artists. Through a broad analysis of Busoni's compositional activities, musicologist Erinn E. Knyt brings Busoni's music into dialogue with more recent accounts of modernism in music that move beyond elitist esotericism and notions of rupture with the past. In addition, she facilitates a discourse between Busoni and other twentieth-century artists and explores how Busoni's spatialized architectural music left a lasting imprint on future generations of musicians and early film pioneers.

Scholars and performers have long noted J.S. Bach's abundant use of parody procedures: that is, the recycling and reworking of pre-existing material from his own compositions or from other sources. Laura Buch edits essays exploring how the composer parodied the work of others and how other composers did the same with him. The contributors delve into the works of Baroque-era composers from Bach himself to C. P. E. Bach, Johann Caspar Ferdinand Fischer, and Ferruccio Busoni. But they also cast a wider net, investigating the ways Bach's music cross-pollinates with contemporary composer-performers John Lewis and the Modern Jazz Quartet, and keyboardist Bernie Worrell and Parliament-Funkadelic. The diverse contexts illuminate a broad range of parody techniques, from structural scaffolding and contrapuntal elaboration to integration with stylistic languages far removed from the Baroque.   An insightful look at how composers build on each other's work, Bach Reworked reveals how nuanced understandings of parody procedures can fuel both musical innovation and historically informed performance.   Contributors: Stephen A. Crist, Ellen Exner, Moira Leanne Hill, Erinn E. Knyt, and Markus Zepf