carnevalemanfredonia.it
» » Musical Composition in the Twentieth Century

eBook Musical Composition in the Twentieth Century download

by Arnold Whittall

eBook Musical Composition in the Twentieth Century download ISBN: 0198166842
Author: Arnold Whittall
Publisher: Oxford University Press; 1 edition (May 11, 2000)
Language: English
Pages: 432
ePub: 1280 kb
Fb2: 1844 kb
Rating: 4.2
Other formats: docx azw txt lit
Category: Art and Photo
Subcategory: Music

This new book builds on Whittall's Music since the First World War. It updates and reshapes the original text and places it in the wider context of twentieth-century . Extensive musical examples are employed throughout.

This new book builds on Whittall's Music since the First World War. It updates and reshapes the original text and places it in the wider context of twentieth-century serious music before 1918 and after 1975, surveying the immense variety of technical developments in twentieth-century music. Sections of detailed analysis, with particular emphasis on such major figures as Stravinsky, Bartok, Messiaen, Tippett, and Ligeti, are framed by more concise sketches of a range of twentieth-century composers from Fauré to Wolfgang Rihm. It updates and reshapes the original text and places it in the wider context of twentieth-century serious music before 1918 and after 1975.

It updates and reshapes the original text and places it in the wider context of twentieth-century serious music before 1918 and after 1975

It updates and reshapes the original text and places it in the wider context of twentieth-century serious music before 1918 and after 1975. Extensive music examples reinforce this technical focus.

In this wide-ranging book, Arnold Whittall considers a group of important composers of the . His recent publications include The Music of Britten and Tippett (1990) and Musical Composition in the Twentieth Century (1999).

In this wide-ranging book, Arnold Whittall considers a group of important composers of the twentieth century, including Debussy, Webern, Schoenberg, Stravinsky, Bartók, Janácek, Britten, Carter, Birtwistle, Andriessen and Adams. He moves skilfully between the cultural and the technical, the general and the particular, to explore the various contexts and critical perspectives which illuminate certain works by these composers.

Автор: Whittall, Arnold Название: Musical composition in the twentieth century Издательство: Oxford Academ .

The twentieth-century was a time of unprecedented change for organ music, not only in its composition and performance but also in the standards of instrument design and building.

Arnold Whittall (born 1935, Shrewsbury, Shropshire, England) is a British . Musical composition in the twentieth century.

Arnold Whittall (born 1935, Shrewsbury, Shropshire, England) is a British musicologist and writer. He is Professor Emeritus at King's College London. Between 1975 and 1996 he was Professor at King's Since the 1960s he has published books, articles and contributed chapters to multi-authored books. Schoenberg Chamber Music. Music since the First World War. London : Dent, 1977. Oxford : Oxford University Press, 1999. London : Faber, 1999. Sections of detailed analysis, with particular emphasis on such major figures as Stravinsky, Bartók, Messiaen, Tippett, and Ligeti, are framed by more concise sketches of a range of twentieth-century composers from Fauré to Wolfgang Rihm.

Some twentieth-century composers arnold schoenberg .

Some twentieth-century composers arnold schoenberg (1874-1951) 6. The composer speaks: arnold schoenberg. 7. Discussion Activities. Once more, Stravinsky took the lead with such compositions as the Octet for Wind Instruments (1923). Bartok and Hindemith, who were des-tined to become the major composers of the half century (along with Schoenberg and Stravinsky), began to receive international recognition. The materialistic trend of our century is reflected particularly in the numerous attempts to expand the materials of music, often at the expense of (or without concern for) its spiritual and expressive values.

It updates and reshapes the original text and places it in the wider context of twentieth-century serious music before 1918 and after 1975.

This new book builds on Whittall's Music since the First World War. It updates and reshapes the original text and places it in the wider context of twentieth-century serious music before 1918 and after 1975, surveying the immense variety of technical developments in twentieth-century music. Sections of detailed analysis, with particular emphasis on such major figures as Stravinsky, Bartók, Messiaen, Tippett, and Ligeti, are framed by more concise sketches of a range of twentieth-century composers from Faur´to Wolfgang Rihm. Extensive musical examples are employed throughout.
Comments: (3)
Iaiastta
MUSICAL COMPOSITION IN THE TWENTIETH CENTURY is Arnold Whittal's attempt to chart the developments of art-music writing in the 1900s. He covers everyone, so if you are a fan of contemporary repertoire who thinks anyone before (or outside the influence) of Schoenberg et al. merits no attention, than this book will take a while to pick up speed.

Whitall adopts a somewhat encyclopedic approach, grouping composers together under shared developments. In the first chapter, "Taking Steps", he gives brief descriptions of the oeuvres of a number of early 20th century figures such as Faure, Elgar, Ravel, and Mahler and briefly mentions the Second Viennese School. Writers of mainly symphonic music--e.g. Shostakovich and Prokofiev--get their own chapter, as do opera composers. For some reason, the author considers Bartok and Stravinsky so important that they each get their own chapters.

The work finally gets interesting when Whittall dedicates one chapter each to those titans of musical progress, Schoenberg, Berg, and Webern. Following that, various chapters group later composers based mainly on how they responded to the breakthroughs of the Second Viennese School. Unfortunately, there are some inexcusable omissions--no Norgard, Gubaidulina, or Saariaho. However, he deserves credit for attention to Lindberg. Score samples abound. I was thrilled, for example, to see an extract from Xenakis' "ST/4" showing maximum possible variation.

If you are a fan of contemporary repertoire, I'd suggest going to Griffith's MODERN MUSIC AND AFTER: Directions Since 1945, which doesn't waste space on tonal bores like Puccini. Still, if you are curious for ever more information on a modern composer, this may be worth flipping through.
Qucid
I rarely write reviews like this but, since one of my graduate students showed this book to me recently (and we were both shocked at its poor quality), I felt had to write. I must agree with the other reviewers who gave this a very poor rating. It is very badly written. It also is completely lacking in substance. The author demonstrates no analytical skills whatsoever. Rather, it is filled with meaningless babble and opinions of little substance. I am amazed this was ever published.
Eseve
Great source of musicological criticism. Comprehensive. Whittall not only treats the "avant-garde," but also, great 20th century composers (like Puccini) that people actually listen to.