Music Since 1900

**** One of the most celebrated references on the music of this century, cited in BCL3, Sheehy, and Walford. Beginning with January 1, 1900, it illuminates every significant day in music history, highlighting debuts, deaths, performances, and an abundance of entertaining music trivia. This edition revises and combines the 1971 fourth edition and its 1986 supplement with descriptive chronologies from 1985 through 1991. It retains the now classic preface to the fourth edition, the Letters and Documents section that includes letters to Slonimsky from Schoenberg, Ives, Varese, and George Bernard Shaw, and the Dictionary of Terms. This edition celebrates Slonimsky's 100th birthday (April 27th). Annotation copyright by Book News, Inc., Portland, OR

An overview of women's work in classical and popular music since 1900 as performers, composers, educators and music technologists.

This comprehensive volume offers a wide-ranging perspective on the stories that art music has told since the start of the 20th century. Contributors challenge the broadly held opinion that the loss of tonality in some music after 1900 also meant the loss of narrative in that music. To the contrary, the editors and essayists in this book demonstrate how experiments in approaching narrative in other media, such as fiction and cinema, suggested fresh possibilities for musical narrative, which composers were quick to exploit. The new conceptions of time, narrative voice, plot, and character that accompanied these experiments also had a significant impact on contemporary music. The repertoire explored in the collection ranges across a wide variety of genres and includes composers from Charles Ives and the Pet Shop Boys to Thomas Adès and Dmitri Shostakovich.

This two-volume reference describes the role of women in all types of music in the U.S. since 1900. The alphabetically-arranged entries cover important individuals (chosen for the significance of their contributions rather than for their popularity), biographical overviews, gender issues, education, music genres, honors and awards, organizations and professions. Entries (ranging from half a page to several pages in length) conclude with a short list of further readings, and about 100 are accompanied by a b & w photograph. A historical overview and a chronology are also included. Annotation (c)2003 Book News, Inc., Portland, OR (booknews.com).

Music was integral to the profound cultural, social and political changes that swept the globe in 1968. This collection of essays offers new perspectives on the role that music played in the events of that year, which included protests against the ongoing Vietnam War, the May riots in France and the assassination of Martin Luther King, Jr. From underground folk music in Japan to antiauthoritarian music in Scandinavia and Germany, Music and Protest in 1968 explores music's key role as a means of socio-political dissent not just in the US and the UK but in Asia, North and South America, Europe and Africa. Contributors extend the understanding of musical protest far beyond a narrow view of the 'protest song' to explore how politics and social protest played out in many genres, including experimental and avant-garde music, free jazz, rock, popular song, and film and theatre music.

This collection brings fresh perspectives to bear upon key questions surrounding the composition, performance and reception of musical modernism.

David Cline provides a detailed analysis of Morton Feldman's graph works and how they changed the course of post-war music.