Modern Music and After und über 1,5 Millionen weitere Bücher verfügbar für Amazon Kindle. Erfahren Sie mehr


oder
Loggen Sie sich ein, um 1-Click® einzuschalten.
oder
Mit kostenloser Probeteilnahme bei Amazon Prime. Melden Sie sich während des Bestellvorgangs an.
Jetzt eintauschen
und EUR 4,22 Gutschein erhalten
Eintausch
Alle Angebote
Möchten Sie verkaufen? Hier verkaufen
Der Artikel ist in folgender Variante leider nicht verfügbar
Keine Abbildung vorhanden für
Farbe:
Keine Abbildung vorhanden

 
Beginnen Sie mit dem Lesen von Modern Music and After auf Ihrem Kindle in weniger als einer Minute.

Sie haben keinen Kindle? Hier kaufen oder eine gratis Kindle Lese-App herunterladen.

Modern Music and After [Englisch] [Taschenbuch]

Paul Griffiths
4.7 von 5 Sternen  Alle Rezensionen anzeigen (3 Kundenrezensionen)
Unverb. Preisempf.: EUR 31,03
Preis: EUR 22,30 kostenlose Lieferung. Siehe Details.
Sie sparen: EUR 8,73 (28%)
  Alle Preisangaben inkl. MwSt.
o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o
Auf Lager.
Verkauf und Versand durch Amazon. Geschenkverpackung verfügbar.
Lieferung bis Dienstag, 22. April: Wählen Sie an der Kasse Morning-Express. Siehe Details.

Weitere Ausgaben

Amazon-Preis Neu ab Gebraucht ab
Kindle Edition EUR 13,25  
Gebundene Ausgabe --  
Taschenbuch EUR 22,30  

Kurzbeschreibung

16. Februar 2011
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.

Hinweise und Aktionen

  • 5-EUR-Gutschein für Drogerie- und Beauty-Artikel:
    Kaufen Sie für mind. 25 EUR aus den Bereichen PC-und Videogames, Musik, DVD/Blu-ray und Hörbücher sowie Kalender und Fremdsprachige Bücher ein; der 5-EUR-Gutschein wird in Ihrem Amazon-Konto automatisch nach Versand der Artikel hinterlegt. Die Aktion gilt nicht für Downloads. Zur Aktion| Weitere Informationen (Geschäftsbedingungen)
  • Studienbücher: Ob neu oder gebraucht, alle wichtigen Bücher für Ihr Studium finden Sie im großen Studium Special. Natürlich portofrei.


Kunden, die diesen Artikel gekauft haben, kauften auch


Produktinformation

  • Taschenbuch: 474 Seiten
  • Verlag: Oxford University Press, USA; Auflage: 0003 (16. Februar 2011)
  • Sprache: Englisch
  • ISBN-10: 019974050X
  • ISBN-13: 978-0199740505
  • Größe und/oder Gewicht: 15 x 23 x 2,4 cm
  • Durchschnittliche Kundenbewertung: 4.7 von 5 Sternen  Alle Rezensionen anzeigen (3 Kundenrezensionen)
  • Amazon Bestseller-Rang: Nr. 144.917 in Englische Bücher (Siehe Top 100 in Englische Bücher)
  • Komplettes Inhaltsverzeichnis ansehen

Mehr über den Autor

Entdecken Sie Bücher, lesen Sie über Autoren und mehr

Produktbeschreibungen

Pressestimmen

continues usefully to draw attention to a wide range of works and concepts BBC Music Magazine

Synopsis

This fully revised new edition re-establishes Paul Griffith's survey as the definitive study of music since the Second World War. 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 re-forming of compositional technique and in John Cage's move into zen music, in Milton Babbitt's settling of the serial system and in Dmitry Shostakovich's unsettling symphonies, in Karlheinz Stochausen'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 have continued to unfold. This constant expansion of musical thinking since 1945 has left us with no single history of music. `We live' as Griffiths says, `among many simultaneous histories'. His study accordingly follows several different paths, showing how they converge and diverge. This book is intended for students, musicians, and general readers interested in the music of the avant-garde since 1945. -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.

In diesem Buch (Mehr dazu)
Ausgewählte Seiten ansehen
Buchdeckel | Copyright | Inhaltsverzeichnis | Auszug | Stichwortverzeichnis
Hier reinlesen und suchen:

Kundenrezensionen

3 Sterne
0
2 Sterne
0
1 Sterne
0
4.7 von 5 Sternen
4.7 von 5 Sternen
Die hilfreichsten Kundenrezensionen
4 von 4 Kunden fanden die folgende Rezension hilfreich
4.0 von 5 Sternen In spite of faults, it's the best on the subject. 30. Juli 1999
Format:Taschenbuch
This is pretty obviously THE book on music in the second half of this century. My own copy's pages are much thumbed, and I've used Griffith's desciptions as a guide to build my CD collection. The glaring omission (there was bound to be one at least) is Lutoslawski, one of the century's greatest and most enjoyable composers, who gets barely a mention. To Griffith's great credit, on the other hand, is his championing of Barraque, who's sometimes not even mentioned in other histories. Finally, though I think Griffiths is right to devote so much space to the big theoretical composers (Boulez, Stockhausen, Cage, Babbitt) he sometimes forgets that their music isn't always the best (Cage is barely a composer at all--more of a philosopher who makes his point with sound-events). Boulez's Le Marteau sans Maitre, for instance, is given too much prominence--it sounds really dated now (listening to it, you can just about see the Beatnicks clicking appreciatively, wearing their black berets), while the great music of Lutoslawski or Dutilleux, for instance, is barely discussed because it's less theoretically advanced. Still, Griffiths' descriptions and explanations are about as good as anyone could hope for, and the overemphases and omissions I mentioned are inevitable in writing a history like this. Like I said, this is still THE book on the subject.
War diese Rezension für Sie hilfreich?
1 von 1 Kunden fanden die folgende Rezension hilfreich
Von Ein Kunde
Format:Taschenbuch
Griffiths gives a survey that is clear, insightful and accessable to both musician and educated listener. After poring over many such books (twentieth century musical surveys), Griffths was a exciting and fun read. The detail on composition in the 1940', 50's and 60's is particularly well organized and concise, as well as ironing out many misconceptions regarding 'modernism' and serialism , to which many texts on modern music have fallen prey. The book is useful both for a didactic text and reference text. Unfortunately the latter half of the book, detailing composition in the 1970's, 80's and 90's, is not as well organized as the first half. The structure of Griffiths' discussion becomes less chronologically linear, focusing on individual concepts and composers, that (particularly in the last section 'strings and knots') seems to be in no particular order. Grittiths also seems less objective in the second half, betraying an odor of postmodern polemic. However, the discussion remains insightful thoughout, and still comprises one of the best texts that I've read on music after WWII.
War diese Rezension für Sie hilfreich?
Von scarecrow
Format:Taschenbuch
My writer brethren here neglected to mention that Griffiths in this reissue,brings us up-to-date a way of completing the tale he began over 20 years ago. Since that time composers have either grown up or become more important, some have fallen from graces completly. Brian Ferneyhough has grown up and Griffiths here gives ample evidence although brief and outlines in form, you read it,and it points you toward a greater exploration of his music. Likewise Morton Feldman became fascinated with the set of problematics concerning longer lengths in music's construction. Likewise the late Luigi Nono, this is the first real description in English of his summary work Prometeo,and gives a good perspective on him.Likewise the late Cage is discussed. Griffiths now writes for the New York Times, and he breathes some new life there of a seasoned reviewer.
War diese Rezension für Sie hilfreich?
Die hilfreichsten Kundenrezensionen auf Amazon.com (beta)
Amazon.com: 4.5 von 5 Sternen  11 Rezensionen
25 von 27 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Excellent on both the music and the social dynamics 25. Mai 2001
Von Autonomeus - Veröffentlicht auf Amazon.com
Format:Taschenbuch|Von Amazon bestätigter Kauf
MODERN MUSIC AND AFTER should really be kept in print, though the market may be small, as it is the best book on the subject. It serves, among other things, as the best record guide to the post-war avant-garde that I've found, although since '95 it has become somewhat outdated.

Griffiths imbues the story of the serialist avant-garde with high drama. The hero of his story is Pierre Boulez. Messiaen is the mentor, and Stockhausen the brother, a source of friendly but intense rivalry. Schoenberg is the father figure who Boulez "kills" even as he carries on his tradition, but of course crediting Webern. The history gives a palpable sense of the excitement of this avant-garde circle, which came together at Darmstadt. Cage and his zen anarchism presents a radical challenge to the integral serialist Project, and begins to explode it.

This takes us through the 1950s. The second part of the book is equally good, as the linear sense of progress unravels in the 1960s and '70s and fragmentation sets in. A fascinating development which Griffiths documents, but does not comment on, is the resurgence of sacred music as the secular avant-garde disintegrates. The Estonian composer Arvo Part is but one example of this trend, what might be called the reassertion of the pre-modern in the context of the post-modern. The third section is not as good, and resembles other similar books in being more an encyclopedia of entries on various composers and trends. There doesn't seem to be much alternative to this for now, but it's interesting to imagine how the present period may be reconstructed in light of future developments...

In his introduction Griffiths laments the loss of a sense of shared criteria for evaluating the diverse music of the moment. But of course books like this contribute to the construction of those criteria! Peter J. Martin's SOUNDS AND SOCIETY (see my review) is an excellent analysis of how music evaluation is socially constructed -- there are no objective, inherent qualities, and so something like writing a book or even posting reviews to a website serves to shape the reception of the art. An interesting topic to pursue would be the divergent paths of Boulez and Stockhausen, with the former becoming an esteemed conductor and not only championing the avant-garde, but also turning back to the once scorned romantic tradition, while Stockhausen followed an increasingly idiosyncratic path and became a revered figure for the 90s electronica movement, a "Father of Electronic Music"!

MODERN MUSIC AND AFTER is indispensable for anyone trying to understand the rich complexities of contemporary composition. I recommend Morgan's TWENTIETH-CENTURY MUSIC (see my review) for the pre-WWII period, and Gann's AMERICAN MUSIC IN THE TWENTIETH CENTURY (see my review) for greater detail on the postwar U.S.
11 von 11 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen great showcase of the concepts guiding new music content 26. Dezember 1999
Von scarecrow - Veröffentlicht auf Amazon.com
Format:Taschenbuch
My writer brethren here neglected to mention that Griffiths in this reissue,brings us up-to-date a way of completing the tale he began over 20 years ago. Since that time composers have either grown up or become more important, some have fallen from graces completly. Brian Ferneyhough has grown up and Griffiths here gives ample evidence although brief and outlines in form, you read it,and it points you toward a greater exploration of his music. Likewise Morton Feldman became fascinated with the set of problematics concerning longer lengths in music's construction. Likewise the late Luigi Nono, this is the first real description in English of his summary work Prometeo,and gives a good perspective on him.Likewise the late Cage is discussed. Griffiths now writes for the New York Times, and he breathes some new life there of a seasoned reviewer.
16 von 20 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Defragmenting the Spheres 14. April 2002
Von Dizaner - Veröffentlicht auf Amazon.com
Format:Taschenbuch
This certainly is the book to get the low-down on contemporary music. However, here a few points of interest:
Firstly, I think the most glaring omission is Louis Andriessen, who not only co-wrote The Apollonian Clockwork, but has also composed some of the most important and exciting non-Webernian music around. What is especially important about Andriessen is that his own 'minimal' style is fully aware of the Modernist heritage at the same time as it critiques or refutes it, as oppoesed to others who just dismiss it outright and have no real understanding of post-Webernian serialism. Also, Andriessen's continuing political ideals make him an interesting study in current musico-poltical relations (now that most are dead: Nono, Cardew; or just write rubbish: Henze).
In fact, while I am no authority on comtemporary Dutch music, I certainly know no more about it through reading this book. Which brings me to my second point: the Anglo-West Europe-American-centricity.
Not only does he leave out the Netherlands, Finland, Scandinavia, South America, as well as the bizarre history of post-war Polish music, but also Australia and (South East) Asia. Now while I am no doubt partisan, his only mention of Australia is one line about the Elision Ensemble in relation to Richard Barrett, Chris Dench, and Finnissy. I think Australia has some of the best composers anywhere (Liza Lim, for instance), writing from a variety of perspectives and a fuller account of these
place-specific musics would have interesting, for instance examination of Australia's liminal position between Europe and Asia and how that affects attitudes to composition.
While his bit on Part is a witty piece of pomo gaming, he sometimes trips himself up in his pomo considerations (as other reviewers have pointed out): for instance, he says that the postmodern condition entails the loss (both through desire and circumstance) of the dominant-central figures crucial to the Modernist project (eg. Boulez) because there are now 'many streams' instead of a river, but he then later complains that no new 'Generals' have stood up to replace the these old ones in terms of central importance to the musical world. In this way, he doesn't really trace many new paths in his last section, but simply rings up his old mates (Boulez, Birtwistle, Berio, Stockhausen, Ligeti, etc) and asks them what they've been up to recently. But, then again, that is really what the book is for and it does it admirably.
And not only is his championing of Barraque timely, but Bill Hopkins too, whose music I was unaware of until reading his bit.
One hopes there will be a 3rd edition after most of the 'peace-time Generals' are gone and a final summation of the lasting effects of the immediate post-war project can take place. Until then this is the book to read if you want to know about the good-old music with no tunes that we all love.
Also the Strings and Knots is organised in reverse alphabetical (very postmodern!)
4 von 4 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen One of the best general studies of composition after 1945 4. Juni 1999
Von Ein Kunde - Veröffentlicht auf Amazon.com
Format:Taschenbuch
Griffiths gives a survey that is clear, insightful and accessable to both musician and educated listener. After poring over many such books (twentieth century musical surveys), Griffths was a exciting and fun read. The detail on composition in the 1940', 50's and 60's is particularly well organized and concise, as well as ironing out many misconceptions regarding 'modernism' and serialism , to which many texts on modern music have fallen prey. The book is useful both for a didactic text and reference text. Unfortunately the latter half of the book, detailing composition in the 1970's, 80's and 90's, is not as well organized as the first half. The structure of Griffiths' discussion becomes less chronologically linear, focusing on individual concepts and composers, that (particularly in the last section 'strings and knots') seems to be in no particular order. Grittiths also seems less objective in the second half, betraying an odor of postmodern polemic. However, the discussion remains insightful thoughout, and still comprises one of the best texts that I've read on music after WWII.
2 von 2 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Great survey from Boulez to present 3. Januar 2013
Von Paul J. Jacobs - Veröffentlicht auf Amazon.com
Format:Taschenbuch|Von Amazon bestätigter Kauf
I am a trained musician and avid classical music fan who is turning my attention and tastes to modern composers and found this textbook extremely useful. There was a minimal amount of subjective characterizations by Mr. Griffiths that I really appreciated. He focused more on objective technical innovations and accomplishments made by various composers which really helped me understand what to listen for. It is a broad survey book covering around 60 years and does have a strong focus on Boulez, Stockhausen, Berio, and Ligeti. More than anything I now have a much better grasp on why I like particular composers and not others, and am excited to take the next step in going more in depth with particular ones that appeal to me.

On another note, I have been one of those classical music lovers who has kept my interest in the "Romantic" style. Saying that, I have never been so excited about classical music than now because new music feels alive and exciting and I've had enough of the continual repetition of very old and dead music. In my opinion, the extremes of total serialism are very hard to appreciate and probably turn many people off from new music. But since the 1960s post advant garde movement I have found an incredible amount of compelling and exciting music to focus on. Anyone who claims to be a classical music fan needs to read this book or one like it and bring modern musical language and the composers who write with it today back into the mainstream concert halls.
Waren diese Rezensionen hilfreich?   Wir wollen von Ihnen hören.
Kundenrezensionen suchen
Nur in den Rezensionen zu diesem Produkt suchen
ARRAY(0xb4074f50)

Kunden diskutieren

Das Forum zu diesem Produkt
Diskussion Antworten Jüngster Beitrag
Noch keine Diskussionen

Fragen stellen, Meinungen austauschen, Einblicke gewinnen
Neue Diskussion starten
Thema:
Erster Beitrag:
Eingabe des Log-ins
 

Kundendiskussionen durchsuchen
Alle Amazon-Diskussionen durchsuchen
   


Ähnliche Artikel finden


Ihr Kommentar