Music In The Twentieth And Twenty First Centuries Western Music In Context A Norton History

The music of the twentieth and twenty-first centuries in its cultural, social, and intellectual contexts. Joseph Auner's Music in the Twentieth and Twenty-First Centuries explores the sense of possibility unleashed by the era's destabilizing military conflicts, social upheavals, and technological advances. Auner shows how the multiplicity of musical styles has called into question traditional assumptions about compositional practice, the boundaries of music and noise, and the relationship among composer, performer, and listener. He also shows how composers and their works have played important roles in defining ideas of nation, race, and gender, and thus in shaping the modern world for better and worse. Western Music in Context: A Norton History comprises six volumes of moderate length, each written in an engaging style by a recognized expert. Authoritative and current, the series examines music in the broadest sense—as sounds notated, performed, and heard—focusing not only on composers and works, but also on broader social and intellectual currents.

Nineteenth-century music in its cultural, social, and intellectual contexts. Music in the Nineteenth Century examines the period from the Congress of Vienna in 1815 to the advent of Modernism in the 1890s. Frisch traces a complex web of relationships involving composers, performers, publishers, notated scores, oral traditions, audiences, institutions, cities, and nations. The book's central themes include middle-class involvement in music, the rich but elusive concept of Romanticism, the cult of virtuosity, and the ever-changing balance between musical and commercial interests. The final chapter considers the sound world of nineteenth-century music as captured by contemporary witnesses and early recordings. Western Music in Context: A Norton History comprises six volumes of moderate length, each written in an engaging style by a recognized expert. Authoritative and current, the series examines music in the broadest sense--as sounds notated, performed, and heard--focusing not only on composers and works, but also on broader social and intellectual currents.

Companion to Music in the baroque.

Eighteenth Century Music in its cultural, social, and intellectual contexts. John Rice's Music in the Eighteenth Century takes the reader on an engrossing Grand Tour of Europe's musical centers, from Naples, to London, Berlin, Vienna, Prague, and St. Petersburg —with a side trip to the colonial New World. Against the backdrop of Europe's largely peaceful division into Catholic and Protestant realms, Rice shows how "learned" and "galant" styles developed and commingled. While considering Mozart, Haydn, and early Beethoven in depth, he broadens his focus to assess the contributions of lesser-known but significant figures like Johann Adam Hiller, Francois-André Philidor, and Anna Bon. Western Music in Context: A Norton History comprises six volumes of moderate length, each written in an engaging style by a recognized expert. Authoritative and current, the series examines music in the broadest sense—as sounds notated, performed, and heard—focusing not only on composers and works, but also on broader social and intellectual currents.

Traces the currents that have shaped the development of music in the twentieth century and discusses the contributions of such composers as Mahler, Debussy, Stockhausen, Vaughan Williams, Bartok, and Stravinsky

Combining current scholarship with cutting-edge pedagogy, the Ninth Edition of A History of Western Music is the text that students and professors have trusted for generations. Combining thoughtful revisions - particularly to chapters on the twentieth and twenty-first centuries - with exceptional media resources, A History of Western Music provides all the resources that students need in a text that will last a lifetime.

As economic, technological and cultural change gathers pace across the world, issues of music heritage and sustainability have become ever more pressing. Discourse on intangible cultural heritage has developed in complex ways in recent years, and musical practices have been transformed by safeguarding agendas. Music as Heritage takes stock of these transformations, bringing new ethnographic and historical perspectives to bear on our encounters with music heritage. The volume evaluates the cultural politics, ethics and audiovisual representation of music heritage; the methods and consequences of music transmission across national borders; and the perennial issues of revival, change and innovation. UNESCO’s 2003 Convention for the Safeguarding of the Intangible Cultural Heritage provides an essential reference point for studies of music heritage. However, this volume also pays attention to important spheres of musical activity that lie outside of UNESCO’s reach and the reasons why some repertories of music are chosen for safeguarding while others are not. Some practices of art music in Europe explored in this book, for example, have received little attention despite being susceptible to endangerment. Developing a comparative framework that cuts across genre distinctions and disciplinary boundaries, Music as Heritage explores how music cultures are being affected by heritage discourse and the impact of international and national policies on grass-roots music practices.