Now in an updated 2nd edition, Musicology: The Key Concepts is a handy A-Z reference guide to the terms and concepts associated with contemporary musicology. Drawing on critical theory with a focus on new musicology, this updated edition contains over 35 new entries including:

• Autobiography
• Music and Conflict
• Deconstruction
• Postcolonialism
• Disability
• Music after 9/11
• Masculinity
• Gay Musicology
• Aesthetics
• Ethnicity
• Interpretation
• Subjectivity

With all entries updated, and suggestions for further reading throughout, this text is an essential resource for all students of music, musicology, and wider performance related humanities disciplines.

Now in an updated 2nd edition, Musicology: The Key Concepts is a handy A-Z reference guide to the terms and concepts associated with contemporary musicology. Drawing on critical theory with a focus on new musicology, this updated edition contains over 35 new entries including:

• Autobiography
• Music and Conflict
• Deconstruction
• Postcolonialism
• Disability
• Music after 9/11
• Masculinity
• Gay Musicology
• Aesthetics
• Ethnicity
• Interpretation
• Subjectivity

With all entries updated, and suggestions for further reading throughout, this text is an essential resource for all students of music, musicology, and wider performance related humanities disciplines.

Sir Michael Tippett is widely considered to be one of the most individual composers of the twentieth century, whose music continues to be performed to critical acclaim throughout the world. Written by a team of international scholars, this Companion provides a wide ranging and accessible study of Tippett and his works. It discusses the contexts and concepts of modernism, tradition, politics, sexuality and creativity that shaped Tippett's music and ideas, engaging with archive materials, relevant literature and models of interpretation. Chapters explore the genres in which Tippett composed, including opera, symphony, string quartet, concerto and piano sonata, to shed new light on his major works and draw attention to those that have not yet received the attention they deserve. Directing knowledge and expertise towards a wide readership, this book will enrich the listening experience and broaden understanding of the music of this endlessly fascinating and challenging composer.

Postmodernism is a term that has been used extensively to describe general trends and specific works in many different cultural contexts, including literature, cinema, architecture and the visual arts. This introduction clarifies the term and explores its relevance for music through discussion of specific musical examples from the 1950s to the present day, providing an engagement between theory and practice. Overall, this book equips students with a thorough understanding of this complex but important topic in music studies. It: * outlines and addresses the problems of defining what we mean by postmodernism * explores when postmodernism begins * engages with a broad range of literature and reference sources, inviting wider reading and thinking * uses specific musical examples to present ways of interpreting music that can be defined as postmodernist

This collection of essays celebrates the work of Sir Harrison Birtwistle, one of the key figures in European contemporary music. Representing current research on Birtwistle's music, this book reflects the diversity of his work in terms of periods, genres, forms, techniques and related issues through a wide range of critical, theoretical and analytical interpretations and perspectives. Written by a team of international scholars, all of whom bring a deep research-based knowledge and insight to their chosen study, this collection extends the scholarly understanding of Birtwistle through new engagements with the man and the music. The contributors provide detailed studies of Birtwistle's engagement with electronic music in the 1960s and 1970s, and develop theoretical explanations of his fascination with pulse, rhythm and time. They also explore in detail Birtwistle's interest in poetry, instrumental drama, gesture, procession and landscape, and consider the compositional processes that underpin these issues.

This collection of essays celebrates the work of Sir Harrison Birtwistle, one of the key figures in European contemporary music. Representing current research on Birtwistle's music, this book reflects the diversity of his work in terms of periods, genres, forms, techniques and related issues through a wide range of critical, theoretical and analytical interpretations and perspectives. Written by a team of international scholars, all of whom bring a deep research-based knowledge and insight to their chosen study, this collection extends the scholarly understanding of Birtwistle through new engagements with the man and the music. The contributors provide detailed studies of Birtwistle's engagement with electronic music in the 1960s and 1970s, and develop theoretical explanations of his fascination with pulse, rhythm and time. They also explore in detail Birtwistle's interest in poetry, instrumental drama, gesture, procession and landscape, and consider the compositional processes that underpin these issues.

Sir Michael Tippett is widely considered to be one of the most individual composers of the twentieth century, whose music continues to be performed to critical acclaim throughout the world. Written by a team of international scholars, this Companion provides a wide ranging and accessible study of Tippett and his works. It discusses the contexts and concepts of modernism, tradition, politics, sexuality and creativity that shaped Tippett's music and ideas, engaging with archive materials, relevant literature and models of interpretation. Chapters explore the genres in which Tippett composed, including opera, symphony, string quartet, concerto and piano sonata, to shed new light on his major works and draw attention to those that have not yet received the attention they deserve. Directing knowledge and expertise towards a wide readership, this book will enrich the listening experience and broaden understanding of the music of this endlessly fascinating and challenging composer.

Postmodernism is a term that has been used extensively to describe general trends and specific works in many different cultural contexts, including literature, cinema, architecture and the visual arts. This introduction clarifies the term and explores its relevance for music through discussion of specific musical examples from the 1950s to the present day, providing an engagement between theory and practice. Overall, this book equips students with a thorough understanding of this complex but important topic in music studies. It: * outlines and addresses the problems of defining what we mean by postmodernism * explores when postmodernism begins * engages with a broad range of literature and reference sources, inviting wider reading and thinking * uses specific musical examples to present ways of interpreting music that can be defined as postmodernist

2009 marks the 75th birthday of Sir Peter Maxwell Davies, an occasion that presents an opportunity for reflection upon, and appreciation of, a period of compositional achievement that extends from the 1950s to the present. This book forms part of that reflection through a statement of the current condition of research on Maxwell Davies's music. Detailed analytical discussions of individual works, such as the opera Taverner and the First Symphony, coexist with broader issues and perspectives, including Davies's own writings about music, his engagement with sonata form, the compositional source, problems of text, and the situating of this music within and in relation to 'modern times'. The book describes selected works from all periods of Davies's rich and diverse career, resulting in a portrait of the music that, while it may be incomplete, reveals the essence of this remarkable composer and his music.

2009 marks the 75th birthday of Sir Peter Maxwell Davies, an occasion that presents an opportunity for reflection upon, and appreciation of, a period of compositional achievement that extends from the 1950s to the present. This book forms part of that reflection through a statement of the current condition of research on Maxwell Davies's music. Detailed analytical discussions of individual works, such as the opera Taverner and the First Symphony, coexist with broader issues and perspectives, including Davies's own writings about music, his engagement with sonata form, the compositional source, problems of text, and the situating of this music within and in relation to 'modern times'. The book describes selected works from all periods of Davies's rich and diverse career, resulting in a portrait of the music that, while it may be incomplete, reveals the essence of this remarkable composer and his music.

Michael Tippett's oratorio A Child of Our Time was written at the beginning of the second world war as an expression of "man's inhumanity to man." This Handbook discusses the significant musical and literary features of this remarkable work within its specific historical, social and stylistic context. Attention is given to the shaping of Tippett's own text as well as its musical representation. Also of importance is the initial critical reception of the work, a reception that defined certain responses that still surround the work today.

Michael Tippett's oratorio A Child of Our Time was written at the beginning of the second world war as an expression of "man's inhumanity to man." This Handbook discusses the significant musical and literary features of this remarkable work within its specific historical, social and stylistic context. Attention is given to the shaping of Tippett's own text as well as its musical representation. Also of importance is the initial critical reception of the work, a reception that defined certain responses that still surround the work today.