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Modern Music and After (Englisch) Taschenbuch – 16. Februar 2011

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Produktinformation

Produktbeschreibungen

Pressestimmen


Praise for the first edition:


"As impressive for its accuracy, as for the clarity, acumen, and wit of its writing."--Classical Music


"Griffiths is excellent about a whole host of composers he admires....Any reader, enthusiast or specialist, will find much to interest and provoke. This book is probably the best of its kind in English today."--Ian Pace, Tempo: Quarterly Review of Modern Music


"Griffiths is so fluent, so practiced a writer in this field that it is understandable if the closest he gets to sceptical disengagement is in suggesting that a composer leaves critics, and even musicologists, lost for words."--Arnold Whittall, The Musical Times


"[A] marvellously thought-provoking and engaging text."--The Musical Times


"A must for the student, and also for the general reader."--The Times


"Modern Music and After remains as close a definitive survey, study, guide and analysis to its field as there is; it can be recommended without reservation...For a comprehensive, readable, authoritative, entertaining, lively, open-minded and all round well-written book on the development of music in our time, there is no better." --Classical.net


"Griffiths has done an outstanding job of making this music at least intellectually accessible. It is our job as listeners, if we seriously care, to seek it out and try to encounter it on its own terms. Highly recommended for libraries with sections on new music, composition, music theory and contemporary aesthetics/philosophy." --Music Media Monthly


"Modern Music and After remains as close a definitive survey, study, guide and analysis to its field as there is; it can be recommended without reservation. The standards of scholarship and authorship are indeed high....Production standards, are of course, high; and the price is beyond reasonable -- that alone should convince you to buy this third edition, even if you've read the earlier one(s).. the updates and referencing are significant.


"Recommended for all libraries serving music programs at the undergraduate level or higher. There is a wealth of information here, and few write as knowledgeably and engagingly on new music as Griffiths." --Fontes Artis Musicae


"Griffiths has done an outstanding job of making this music at least intellectually accessible. It is our job as listeners, if we seriously care, to seek it out and try to encounter it on its own terms. Highly recommended for libraries with sections on new music, composition, music theory and contemporary aesthetics/philosophy." --Music Media Monthly


"Modern Music and After remains as close a definitive survey, study, guide and analysis to its field as there is; it can be recommended without reservation. The standards of scholarship and authorship are indeed high....Production standards, are of course, high; and the price is beyond reasonable -- that alone should convince you to buy this third edition, even if you've read the earlier one(s)...the updates and referencing are significant. For a comprehensive, readable, authoritative, entertaining, lively, open-minded and all round well-written book on the development of music in our time, there is no better." --Classical.net


"Recommended for all libraries serving music programs at the undergraduate level or higher. There is a wealth of information here, and few write as knowledgeably and engagingly on new music as Griffiths." --Fontes Artis Musicae


Praise for the first edition:


"Griffiths is excellent about a whole host of composers he admires....Any reader, enthusiast or specialist, will find much to interest and provoke. This book is probably the best of its kind in English today."--Ian Pace, Tempo: Quarterly Review of Modern Music


"Griffiths is so fluent, so practiced a writer in this field that it is understandable if the closest he gets to sceptical disengagement is in suggesting that a composer leaves critics, and even musicologists, lost for words." --Arnold Whittall, The Musical Times


"[A] marvellously thought-provoking and engaging text."--The Musical Times


"A must for the student, and also for the general reader."--The Times


"As impressive for its accuracy, as for the clarity, acumen, and wit of its writing." --Classical Music





"Recommended for all libraries serving music programs at the undergraduate level or higher. There is a wealth of information here, and few write as knowledgeably and engagingly on new music as Griffiths." --Fontes Artis Musicae


"Griffiths has done an outstanding job of making this music at least intellectually accessible. It is our job as listeners, if we seriously care, to seek it out and try to encounter it on its own terms. Highly recommended for libraries with sections on new music, composition, music theory and contemporary aesthetics/philosophy." --Music Media Monthly


"Modern Music and After remains as close a definitive survey, study, guide and analysis to its field as there is; it can be recommended without reservation. The standards of scholarship and authorship are indeed high....Production standards, are of course, high; and the price is beyond reasonable -- that alone should convince you to buy this third edition, even if you've read the earlier one(s)...the updates and referencing are significant. For a comprehensive, readable, authoritative, entertaining, lively, open-minded and all round well-written book on the development of music in our time, there is no better." --Classical.net


"Recommended for all libraries serving music programs at the undergraduate level or higher. There is a wealth of information here, and few write as knowledgeably and engagingly on new music as Griffiths." --Fontes Artis Musicae


Praise for the first edition:


"Griffiths is excellent about a whole host of composers he admires....Any reader, enthusiast or specialist, will find much to interest and provoke. This book is probably the best of its kind in English today."--Ian Pace, Tempo: Quarterly Review of Modern Music


"Griffiths is so fluent, so practiced a writer in this field that it is understandable if the closest he gets to sceptical disengagement is in suggesting that a composer leaves critics, and even musicologists, lost for words." --Arnold Whittall, The Musical Times


"[A] marvellously thought-provoking and engaging text."--The Musical Times


"A must for the student, and also for the general reader."--The Times


"As impressive for its accuracy, as for the clarity, acumen, and wit of its writing." --Classical Music


Synopsis

This fully revised new edition re-establishes Paul Griffiths'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 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 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.

In addition to the composers mentioned above, others whose music is discussed include Steve Reich, Jean Barraque, Elliott Carter, Olivier Messiaen, Gyorgy Kurtag, Bill Hopkins, Harrison Birtwhistle and Gyorgy Ligeti. Publication and recording details are given for the works of all these composers and many others. For its breadth and for its wealth of detail, Modern Music and After will appeal to both student and the general reader in search of a lively and comprehensive introduction to the music of our time.

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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.
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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.
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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.
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Die hilfreichsten Kundenrezensionen auf Amazon.com (beta)

Amazon.com: 4.6 von 5 Sternen 16 Rezensionen
3 von 3 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 Verifizierter 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.
31 von 33 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 Verifizierter 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.
1 von 1 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Thoughtful and insightful 19. April 2014
Von Ken Foster - Veröffentlicht auf Amazon.com
Format: Kindle Edition Verifizierter Kauf
Excellent thoughtful and insightful take on music after 1945. Should be read with a history of electro-acoustic music set. Does not make too many assumptions about the value of the music and let's the reader decide the complex value of the compositions covered.
1 von 3 Kunden fanden die folgende Rezension hilfreich
3.0 von 5 Sternen I Am Teflon When I Read This Book 8. November 2013
Von DaveHwriter - Veröffentlicht auf Amazon.com
Format: Taschenbuch Verifizierter Kauf
I failed to get gripped by this work. And mind you I read everything I can find on 20th century music. The writing and analysis are good. But the book was boring to me. Seemed like more of a long fan letter. I gave it my neighbor, who is a drummer and has the musical chops to understand the technical stuff. he never thanked me.
4 von 4 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen The only history to address a lot of this 8. Oktober 2011
Von demo - Veröffentlicht auf Amazon.com
Format: Taschenbuch
Most of the books I've found about post WWII composed music are either narrowly focused (like Joan Peyser on Boulez -good, just about worshipping Boulez most of the time) or intent on dismissing "total serialism" and its aftermath (Important to note that "total serialism" was abandoned by its primary practitioners -Boulez, Stockhausen, et al- within a few years of its inception). Even if the plethora of compositional concepts that flooded the world of composed music after total serialism ran its brief course have proven too abstruse to reach wide audiences or have proven (in many post Cage examples) to be too ephemeral to generate much more than transitory "happenings", a great deal of intelligence and discipline has gone into ways of thinking about and organizing sound. It would be sort of tragic to let all those investigations go to waste as many historians (Richard Taruskin in his final Oxford volume, for example) would.

No jazz here, no film scores, no pop, just composers and how they approach the work of organizing sound.

Pretty thorough and engaging. Not recommended for those who think Reich, Glass, and Riley are the summit of musical thought.
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