When considering the role music played in the major totalitarian regimes of the century it is music's usefulness as propaganda that leaps first to mind. But as a number of the chapters in this volume demonstrate, there is a complex relationship both between art music and politicised mass culture, and between entertainment and propaganda. Nationality, self/other, power and ideology are the dominant themes of this book, whilst key topics include: music in totalitarian regimes; music as propaganda; music and national identity; émigré communities and composers; music's role in shaping identities of 'self' and 'other' and music as both resistance to and instrument of oppression. Taking the contributions together it becomes clear that shared experiences such as war, dictatorship, colonialism, exile and emigration produced different, yet clearly inter-related musical consequences.

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. Considering the extent to which place and nationality contribute to the definition of musical character, he investigates the relevance of such images as mirroring and symmetry, the function of genre and the way types of identity may be suggested by such labels as classical, modernist, secular, sacred radical, traditional. These categories are considered as flexible and interactive and they generate a wide-ranging series of narratives delineating some of the most fundamental forces which affected composers and their works within the complex and challenging world of the twentieth century.

When considering the role music played in the major totalitarian regimes of the century it is music's usefulness as propaganda that leaps first to mind. But as a number of the chapters in this volume demonstrate, there is a complex relationship both between art music and politicised mass culture, and between entertainment and propaganda. Nationality, self/other, power and ideology are the dominant themes of this book, whilst key topics include: music in totalitarian regimes; music as propaganda; music and national identity; émigré communities and composers; music's role in shaping identities of 'self' and 'other' and music as both resistance to and instrument of oppression. Taking the contributions together it becomes clear that shared experiences such as war, dictatorship, colonialism, exile and emigration produced different, yet clearly inter-related musical consequences.

A History of Twentieth-Century Music in a Theoretic-Analytical Context is an integrated account of the genres and concepts of twentieth-century art music, organized topically according to aesthetic, stylistic, technical, and geographic categories, and set within the larger political, social, economic, and cultural framework. While the organization is topical, it is historical within that framework. Musical issues interwoven with political, cultural, and social conditions have had a significant impact on the course of twentieth-century musical tendencies and styles. The goal of this book is to provide a theoretic-analytical basis that will appeal to those instructors who want to incorporate into student learning an analysis of the musical works that have reflected cultural influences on the major musical phenomena of the twentieth century. Focusing on the wide variety of theoretical issues spawned by twentieth-century music, A History of Twentieth-Century Music in a Theoretic-Analytical Context reflects the theoretical/analytical essence of musical structure and design.

The twilight of the tonal system -- Scale formations in twentieth-century music -- The vertical dimension -- The horizontal dimension : melody and voice leading -- Harmonic progression and tonality -- Developments in rhythm -- Form in twentieth-century music -- Imports and allusions -- Nonserial atonality -- Classical serialism -- Timbre and texture : acoustic -- Timbre and texture : electronic -- Serialism after 1945 -- The roles of chance and choice in twentieth-century music -- Minimalism and beyond.

This new volume incorporates all entries from the previous editions by Arthur Wenk, expanding to cover writings drawn from periodicals, theses, dissertations, books, and Festschriften from 1940 to 2000. Over 9,000 references to analyses of works by over 1,000 composers of the nineteenth and twentieth centuries are included.

How many composers, songwriters and lyricists wrote music in the twentieth century?? Who were they?? This first edition identifies more than 14,000 people who did so, and all are listed in this eBook alphabetically along with a hyperlink to their Wikipedia biographical data. Performers of blues, folk, jazz, rock & roll and R&B are included by default. PLEASE NOTE: THE HYPERLINKS IN THIS BOOK ONLY FUNCTION ON GOOGLE PLAY aka THE 'FLOWING' VERSION. The hyperlinks in this book DO NOT CURRENTLY FUNCTION on the GOOGLE BOOKS ' FIXED' version.

"In this evocative memoir, Cassandra Lane deftly uses the act of imagination to reclaim her ancestors’ story as a backdrop for telling her own. The tradition of Black women’s storytelling leaps forward within these pages—into fresh, daring, and excitingly new territory." —Bridgett M. Davis, author of The World According to Fannie Davis When Cassandra Lane finds herself pregnant at thirty-five, the knowledge sends her on a poignant exploration of memory to prepare for her entry into motherhood. She moves between the twentieth-century rural South and present-day Los Angeles, reimagining the intimate life of her great-grandparents Mary Magdelene Magee and Burt Bridges, and Burt's lynching at the hands of vengeful white men in his southern town. We Are Bridges turns to creative nonfiction to reclaim a family history from violent erasure so that a mother can gift her child with an ancestral blueprint for their future. Haunting and poetic, this debut traces the strange fruit borne from the roots of personal loss in one Black family—and considers how to take back one’s American story.

This is the first book-length survey of 20th -century British music for solo organ. Beginning with a discussion of British organ music in the last decades of the Victorian era, the book focuses on the pieces that the composers wrote, their musical style, possible influences on the composition of specific works, and the details of their composition. Arranged in chronological order according to date of birth are detailed studies on important composers that made especially significant contributions to organ music including Parry, Stanford, Healey Willan, Herbert Howells, Percy Whitlock, Francis Jackson, Peter Racine Fricker, Arthur Wills, and Kenneth Leighton. Composers' biographies, the role of organs and organ building developments, influential political and sociological events, and aesthetic aspects of British musical life are also discussed in detail. In the concluding chapter, the author discusses the major phases and achievements of the century and gauges what may lie ahead in the new millennium. A comprehensive Catalog of Works provides titles of works, dates of composition, details of publishers, and the dates of publication. More than 60 music examples, 12 black and white photos, and an up-to-date bibliography are included.

This text provides the most comprehensive analytical approach to post-tonal music available, from Impressionism to recent trends. It covers music from the early 1900s through the present day, with discussion of such movements as Minimalism and the Neoromanticism, and includes chapters on rhythm, form, electronic and computer music, and the roles of chance and choice in post-tonal music. Chapter-end exercises involve drills, analysis, composition, as well as several listening assignments.