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French born New Yorker Edgard Varese sound-tracked inductrial society just as Debussy had more pastoral settings.
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A vibrant history of acoustical technology and aural culture in early-twentieth-century America. In this history of aural culture in early-twentieth-century America, Emily Thompson charts dramatic transformations in what people heard and how they listened. What they heard was a new kind of sound that was the product of modern technology. They listened as newly critical consumers of aural commodities. By examining the technologies that produced this sound, as well as the culture that enthusiastically consumed it, Thompson recovers a lost dimension of the Machine Age and deepens our understanding of the experience of change that characterized the era. Reverberation equations, sound meters, microphones, and acoustical tiles were deployed in places as varied as Boston's Symphony Hall, New York's office skyscrapers, and the soundstages of Hollywood. The control provided by these technologies, however, was applied in ways that denied the particularity of place, and the diverse spaces of modern America began to sound alike as a universal new sound predominated. Although this sound—clear, direct, efficient, and nonreverberant—had little to say about the physical spaces in which it was produced, it speaks volumes about the culture that created it. By listening to it, Thompson constructs a compelling new account of the experience of modernity in America.
New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.
The works of Edgard Varese (1883-1965) represent the most radical expression of 20th-century Modernism in music. Not only did he create such orchestral showpieces as Ameriques and Arcana and such mainstays of the instrumental repertoire as Octandre and Density 21:5; he also pioneered works for percussion ensemble and electronic music, both on tape and using electronic instruments. Yet books about Varese are few. Either they are biographical studies by non-musicians, or severely analytical treatises beyond the reach of the majority of music lovers who are likely to hear his works in concert. This book takes a different approach. Within a chronological scheme, its core is a series of descriptive analyses; accessible to any literate music-lover, of all Varese's available works. Malcolm MacDonald relates them to the ideas, both aesthetic and scientific, which underlay Varese's boldly original view of sound and musical structure. He shows how Varese's conception of a music that explodes into space, of intelligent sounds moving in space arose from 20th-century man's expanding consciousness of his place in the universe, but also from the esoteric philosophies of late 19th-century Paris, inspired by Renaissance alchemists such as Paracelsus. Much of Varese's output is destroyed, but it is possible to infer much about his lost early works, his vast stage of composition about communication with the star Sirius, and the unachieved choral symphony Espace, designed to be performed simultaneously in the various capitals of the world. This is also the first book to discuss the previously unpublished Varese scores released for performance in 1998 by Varese executor Chou Wen Chung.
This book recreates an exciting and productive period in which creative artists felt they were witnessing the birth of a new age. Aaron Copland, Henry Cowell, George Gershwin, Roy Harris, and Virgil Thomson all began their careers then, as did many of their less widely recognized compatriots. While the literature and painting of the 1920's have been amply chronicled, music has not received such treatment. Carol Oja's book sets the growth of American musical composition against parallel developments in American culture, provides a guide for the understanding of the music, and explores how the notion of the concert tradition, as inherited from Western Europe, was challenged and revitalized through contact with American popular song, jazz, and non-Western musics.
The Music of the Future is not a book of predictions or speculations about how to save the music business or the bleeding edge of technologies. Rather, it's a history of failures, mapping 200 years of attempts by composers, performers and critics to imagine a future for music. Encompassing utopian dream cities, temporal dislocations and projects for the emancipation of all sounds, The Music of the Future is in the end a call to arms for everyone engaged in music: "to fail again, fail better."
If in earlier eras music may have seemed slow to respond to advances in other artistic media, during the modernist age it asserted itself in the vanguard. Modernism and Music provides a rich selection of texts on this moment, some translated into English for the first time. It offers not only important statements by composers and critics, but also musical speculations by poets, novelists, philosophers, and others-all of which combine with Daniel Albright's extensive, interlinked commentary to place modernist music in the full context of intellectual and cultural history.