Two crucial moments in the formation and disintegration of musical modernity and the musical canon occurred at the turn of the seventeenth and the first half of the twentieth century. Dr Ljubica Ilic provides a fresh and close look at these moments, exploring the ways musical compositions shift to and away from ideological structures identified with modernity. The focus is on European art music whose grand narrative, defined by tonality and teleological development, begins in the seventeenth century and ends with twentieth-century modernisms. This particular musical "language game" coincides with historical changes in the phenomenological understanding of space and selfhood. A key concept of the book concerns musical compositions that remain without proper conclusions: if the wholesome (musical) work is a manifestation of wholesome subjectivity, the pieces Ilic explores deny it, reflecting conflict of the individual with previous beliefs, with contexts, and even within the self as the basic modern condition. The musical work is, in this case, still bounded and well-defined, but fractured by the incapability or refusal to satisfactorily conclude: the implicit cut forced upon it changes the expected musical flow or - speaking in spatial terms - it influences the musical form. By using the metaphor of space, Ilic explores: how the existence of a separate self as a primary feature of Western modernity becomes negotiated through awareness of the subject's own independence and individuality; innerness as something entirely separate from its surroundings; and the collective space of social interaction. Seeing musical storytelling as a metaphoric representation of selfhood, and modernity as a historical continuum, Ilic examines the boundaries and relationships between the musical work, the subject, and modern European history.

A landmark work from the founder of the Frankfurt School. A key work in the study of Adorno, of interest to students and general readers alike.

Over three decades, Paul Griffiths's survey has remained the definitive study of music since the Second World War; this fully revised and updated edition re-establishes Modern Music and After as the preeminent introduction to the music of our time. The disruptions of the war, and the struggles of the ensuing peace, were reflected in the music of the time: in Pierre Boulez's radical reformation of compositional technique and in John Cage's development of zen music; in Milton Babbitt's settling of the serial system and in Dmitry Shostakovich's unsettling symphonies; in Karlheinz Stockhausen's development of electronic music and in Luigi Nono's pursuit of the universally human, in Iannis Xenakis's view of music as sounding mathematics and in Luciano Berio's consideration of it as language. The initiatives of these composers and their contemporaries opened prospects that haven't yet stopped unfolding. This constant expansion of musical thinking since 1945 has left us with no singular history of music; Griffiths's study accordingly follows several different paths, showing how and why they converge and diverge. This new edition of Modern Music and After discusses not only the music of the fifteen years that have passed since the previous edition, but also the recent explosion of scholarly interest in the latter half of the twentieth century. In particular, the book has been expanded to incorporate the variety of responses to the modernist impasse experienced by composers of the 1980s and 1990s. Griffiths then moves the book into the twenty-first century as he examines such highly influential composers as Helmut Lachenmann and Salvatore Sciarrino. For its breadth, wealth of detail, and characteristic wit and clarity, the third edition of Modern Music and After is required reading for the student and the enquiring listener.

This book recreates an exciting and productive period in which creative artists felt they were witnessing the birth of a new age. Aaron Copland, Henry Cowell, George Gershwin, Roy Harris, and Virgil Thomson all began their careers then, as did many of their less widely recognized compatriots. While the literature and painting of the 1920's have been amply chronicled, music has not received such treatment. Carol Oja's book sets the growth of American musical composition against parallel developments in American culture, provides a guide for the understanding of the music, and explores how the notion of the concert tradition, as inherited from Western Europe, was challenged and revitalized through contact with American popular song, jazz, and non-Western musics.

The complex relationship between myths and music is here investigated.

Modern philosophers generally assume that music is a problem to which philosophy ought to offer an answer. Andrew Bowie's Music, Philosophy, and Modernity suggests, in contrast, that music might offer ways of responding to some central questions in modern philosophy. Bowie looks at key philosophical approaches to music ranging from Kant, through the German Romantics and Wagner, to Wittgenstein, Heidegger and Adorno. He uses music to re-examine many ideas about language, subjectivity, metaphysics, truth and ethics, and he suggests that music can show how the predominant images of language, communication, and meaning in contemporary philosophy may be lacking in essential ways. His book will be of interest to philosophers, musicologists, and all who are interested in the relation between music and philosophy.

The contemporary music scene thus embodies a uniquely broad spectrum of activity, which has grown and changed down to the present hour. With new talents emerging and different technologies developing as we move further into the 21st century, no one can predict what paths music will take next. All we can be certain of is that the inspiration and originality that make music live will continue to bring awe, delight, fascination, and beauty to the people who listen to it. This book cover modernist and postmodern concert music worldwide from the years 1888 to 2018. This second edition of Historical Dictionary of Modern and Contemporary Classical Music contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 500 cross-referenced entries on the most important composers, musicians, methods, styles, and media in modernist and postmodern classical music worldwide, from 1888 to 2018. This book is an excellent resource for students, researchers, and anyone wanting to know more about modern and contemporary classical music.

Music and Modern Art adopts an interdisciplinary approach to the relationship between these two fields of creative endeavor.