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Meyer makes a valuable statement on aesthetics, criteria for assessing great works of music, compositional practices and theories of the present day, and predictions of the future of Western culture. His postlude, written for the book's twenty-fifth anniversary, looks back at his thoughts on the direction of music in 1967.
Twentieth-Century Music Theory and Practice introduces a number of tools for analyzing a wide range of twentieth-century musical styles and genres. It includes discussions of harmony, scales, rhythm, contour, post-tonal music, set theory, the twelve-tone method, and modernism. Recent developments involving atonal voice leading, K-nets, nonlinearity, and neo-Reimannian transformations are also engaged. While many of the theoretical tools for analyzing twentieth century music have been devised to analyze atonal music, they may also provide insight into a much broader array of styles. This text capitalizes on this idea by using the theoretical devices associated with atonality to explore music inclusive of a large number of schools and contains examples by such stylistically diverse composers as Paul Hindemith, George Crumb, Ellen Taffe Zwilich, Steve Reich, Michael Torke, Philip Glass, Alexander Scriabin, Ernest Bloch, Igor Stravinsky, Béla Bartók, Sergei Prokofiev, Arnold Schoenberg, Claude Debussy, György Ligeti, and Leonard Bernstein. This textbook also provides a number of analytical, compositional, and written exercises. The aural skills supplement and online aural skills trainer on the companion website allow students to use theoretical concepts as the foundation for analytical listening. Access additional resources and online material here: http: //www.twentiethcenturymusictheoryandpractice.net and https: //www.motivichearing.com/.
At a time when a pile of bricks is displayed in a museum, when music is composed for performance underwater, and the boundaries between popular and fine art are fluid, conventional understandings of art are strained in describing what art is, what it includes or excludes, whether and how it should be evaluated, and what importance should be assigned the arts in society. In this book, Vera Zolberg examines diverse theoretical approaches to the study of the arts. Ranging over humanistic and social scientific views representing a variety of scholarly traditions, American and European, she then develops a sociological approach that evaluates the institutional, economic, and political influences on the creation of art, while also affirming the importance of the question of artistic quality. The author examines the arts in the social contexts in which they are created and appreciated, focusing on the ways in which people become artists, the institutions in which their careers develop, the supports and pressures they face, the publics they need to please, and the political forces with which they must contend. Particular subjects covered include the process by which works are created and "re-created" at different times, with changed meanings, and for new social uses; the role of the audience in the realization of artistic experiences; the social consequences of taste preferences; the reasons for change in artistic styles and for the coexistence of many art forms and styles.
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How is it that humans are able to organize seemingly random sounds into the captivating sonic structures we call music? In this volume, Lawrence M. Zbikowski argues that humans' unique ability to correlate sounds with dynamic processes provides the basis for the construction of meaningful musical utterances - that is, a foundation for musical grammar. Building on a framework for grammar developed by cognitive linguists over the past three decades and the pathbreaking research set out in his earlier book, Conceptualizing Music (OUP 2002), Zbikowski explains how the ability to draw analogies between widely differing domains allowing humans to connect sequences of musical sounds with emotion processes, physical gestures, and the steps of dance. He shows how these connections underpin an evocative movement from a cantata by J.S. Bach, guide our understanding of gestural choreographies by Fred Astaire and Charlie Chaplin, and frame connections between movement and music in French courtly dance and the Viennese waltz. Through thorough surveys of research in cognitive science and careful analyses of works by composers ranging from Bach, Brahms, and Schubert to Jerome Kern, Zbikowski explores the unique resources for communication offered by music and examines how these differ from those of language. Foundations of Musical Grammar is sure to be an instant - and enticingly controversial - classic within the evolving literature addressing the many complex intersections of music and language. -- from dust jacket.
Twentieth-century composers created thousands of original works for solo percussion and percussion ensemble. Concise and ideal for the classroom, Artful Noise offers an essential and much-needed survey of this unique literature. Percussionist Thomas Siwe organizes and analyzes the groundbreaking musical literature that arose during the twentieth century. Focusing on innovations in style and the evolution of the percussion ensemble, Siwe offers a historical overview that connects the music to scoring techniques, new instrumentation and evolving technologies as well as world events. Discussions of representative pieces by seminal composers examines the resources a work requires, its construction, and how it relates to other styles that developed during the same period. In addition, Siwe details the form and purpose of many of the compositions while providing background information on noteworthy artists. Each chapter is supported with musical examples and concludes with a short list of related works specifically designed to steer musicians and instructors alike toward profitable explorations of composers, styles, and eras.
Rising out of the American art music movement of the late 1950s and 1960s, minimalism shook the foundations of the traditional constructs of classical music, becoming one of the most important and influential trends of the twentieth century. The emergence of minimalism sparked an active writing culture around the controversies, philosophies, and forms represented in the music’s style and performance, and its defenders faced a relentless struggle within the music establishment and beyond. Focusing on how facts about music are constructed, negotiated, and continually remodeled, We Have Always Been Minimalist retraces the story of these battles that—from pure fiction to proven truth—led to the triumph of minimalism. Christophe Levaux’s critical analysis of literature surrounding the origins and transformations of the stylistic movement offers radical insights and a unique new history.
The Oxford Handbook of Jewish Music Studies is the most comprehensive and expansive critical handbook of Jewish music published to date. It is the first endeavor to address the diverse range of sounds, texts, archives, traditions, histories, geographic and political contexts, and critical discourses in the field. The thirty-one experts from thirteen countries who prepared the thirty original and groundbreaking chapters in this handbook are leaders in the disciplines of musicology and Jewish studies as well as adjacent fields. Chapters in the handbook provide a broad coverage of the subject area with considerable expansion of the topics that are normally covered in a resource of this type. Designed around eight distinct sections -- Land, City, Ghetto, Stage, Sacred and Ritual Spaces, Destruction / Remembrance, and Spirit -- the range and scope of The Oxford Handbook of Jewish Music Studies most significantly suggests a new framework for the study of Jewish music centered on spatiality and taking into consideration temporality and collectivity. Within each chapter, authors have selected what they consider to be the most important material relevant to their topic and, drawing on the most authoritative insights from historical and ethnomusicology, Jewish studies, history, anthropology, philology, religious studies, and the visual arts, have taken a genuinely inter- or transdisciplinary approach. Integrated chapter bibliographies provide material for further reading. Together the chapters form a first truly global look at Jewish music, incorporating studies from Central and East Asia, Europe, Australia, the Americas, and the Arab world. Together they span world history, from antiquity until the present day. As such, the Handbook provides a resource that researchers, scholars, and educators will use as the most important and authoritative overview of work within music and Jewish studies.