Modern Music and After by Griffiths, Paul -- Read -- Imperial Library of Trantor

Index

Cover page Title Page Copyright page Dedication Acknowledgments Contents Prelude 1945

1. Rational and Irrational: Western Europe, 1945–50

Paris, 1945–48 The Young Boulez Boulez’s Second Piano Sonata Other Stories Musique Concrète Variations: Nono

2. Silencing Music: Cage, 1946–52

Rhythmic Structuring Towards Silence Around Cage

3. Total Organization: Western Europe, 1949–54

The Moment of Total Serialism 1: Darmstadt 1949 and Darmstadt 1951 Interlude: The Patrons of Modernism The Moment of Total Serialism 2: Paris 1952 The Human Voice 1: Nono Electronic Music The Human Voice 2: Barraqué

4. Classic Modernism and Other Kinds: The United States, 1945–55

Schoenberg Carter Babbitt Homemade Music Wolpe After Silence

5. The Cold War 6. Extension and Development: Western Europe, 1953–56

From Points to Groups Systems of Organization Le Marteau sans maître Sound and Word How time passes Statistics

1956

7. Mobile Form: 1956–61

Cage Stockhausen and Boulez Boulez and Berio Barraqué Exit from the Labyrinth

8. Elder Responses

Stravinsky Messiaen Varèse Symphonists and Others

9. Reappraisal and Disintegration: 1959–64

Questioning Voices: Ligeti, Bussotti, Kagel Stumbling Steps: Kurtág Listening Ears: Cage, Young, Babbitt Exploiting the Moment: Stockhausen The Last Concert: Nono

1965

10. Of Elsewhen and Elsewhere

The Distant Past (The Imaginary Past) The Distant or Not So Distant East Quotation Meta-Music

11. Music Theatre

Opera and ‘Opera’ Music Theatre Instrumental Theatre

12. Politics

Cardew Rzewski The Composer in the Factory

13. Virtuosity and Improvisation

The Virtuoso Virtuosity in Question The Electric Musician Improvisation

14. Orchestras or Computers

Orchestras Computer Music

15. Minimalism and Melody

New York Minimalism Minimalism in Europe Melody

16. Ending

1975

17. Holy Minimalisms

Pärt Górecki and Tavener (Messiaen) Ustvolskaya

18. New Romanticisms

Rihm Schnittke, and the Hectic Present Gubaidulina, and the Visionary Future Silvestrov, and the Reverberating Past Symphony? Feldman and Loss Lachenmann and Regain

19. New Simplicities

Cage, or Innocence Denyer, or Outsiderness Kurtág, or Immediacy Holliger, or Extremity Sciarrino, or Intimacy

20. New Complexities

Ferneyhough Finnissy Charged Solos

21. Old Complexities

Carter and the Poets Xenakis and the Arditti Quartet Nono and Listening Stockhausen and Licht Birtwistle and Ritual Berio and Memory IRCAM and Boulez

22. Spectralisms

Radulescu and Tenney Grisey Vivier

23. (Unholy?) Minimalisms

Reich Andriessen

24. Referencings

Kagel, et al. Donatoni Bolcom and Adams Ligeti

1989

25. Towards Mode/Meme

Rootless Routes: Ligeti Memory’s Memorials: Berio and Kurtág Remade Modes: Adams, Adès, Benjamin Pesson’s Past and Pauset’s Traditions’ Tracks: Around Zorn

26. Towards the Strange Self

Act I: Schneewittchen Entr’acte: Kurtág’s Beckett Act II: Luci mie traditrici Entr’acte: Birtwistle’s Celan Act III: Three Sisters Entr’acte: Kyburz’s No-one Act IV: Das Mädchen mit den Schwefelhölzern

27. Towards Transcendence

Gubaidulina and Christ Haas and Darkness Harvey and the Goddess Grisey and Rebirth Riehm and Reality

2001

28. Towards Change?

Resources Index

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