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Twentieth-century music : a history of musical style in modern Europe and America / Robert P. Morgan.

By: Morgan, Robert P [author].
Material type: materialTypeLabelBookSeries: Norton introduction to music history: Publisher: New York : W.W. Norton & Company, [1991]Edition: First edition.Description: xvii, 554 pages : illustrations ; 25 cm.Content type: text Media type: unmediated Carrier type: volumeISBN: 039395272X (hardback).Subject(s): Music -- 20th century -- History and criticism | Style, MusicalDDC classification: 780.904 MOR | 780.904
Contents:
Introduction. The nineteenth-century musical background -- Part I. Beyond tonality: from 1900 to World War I -- The historical context: Europe at the turn of the century -- Some transitional figures -- Austria: Mahler -- Germany: Richard Strauss -- Busoni -- Pfitzner -- Reger -- France: Debussy -- Satie -- Russia: Skryabin -- The atonal revolution -- Schoenberg -- Schoenberg as theorist and teacher -- Webern -- Berg -- New tonalities -- Stravinsky -- Bartók -- Other European currents -- Russia: Rachmaninov and others -- Italy: the futurists -- Czechoslovakia: Janáček -- Hungary: Kodály -- Scandinavia: Sibelius and Nielsen -- France: Ravel -- Beyond the continent -- Music in England -- Vaughan Williams -- Holst -- Charles Ives and American music --
Part II. Reconstruction and new systems: between the wars -- The historical context: Europe after World War I -- Neo-classicism -- The "new spirit" in France -- Satie -- Les Six -- Poulenc -- Milhaud -- Honegger -- Stravinsky and neo-classicism -- Bartók -- The twelve-tone system -- Schoenberg -- Webern -- Berg -- The influence of politics -- Germany -- Hindemith -- Weill -- Russia -- Prokofiev -- Shostakovich -- Other Europeans -- Italy: Casella, Malipiero, and Dallapiccola -- Germany: Orff -- Austria: Hauer -- Krenek -- Poland: Szymanowski -- Czechoslovakia: Hába -- Spain: Falla -- England after World War I -- Walton -- Britten -- Tippett -- The United States -- The new American traditionalists -- Copland -- Sessions -- The experimental tradition in American music -- Cowell -- Partch -- Varèse -- Latin America -- Villa-Lobos -- Chávez -- Ginastera -- Other Latin Americans --
Part III. Innovation and fragmentation: from World War II to the present -- The historical context: the world and World War II -- Integral serialism -- The postwar compositional mood -- The serial revolution in France: Messiaen and Boulez -- Serialism in Germany: Stockhausen -- American serialism: Babbitt -- Stravinsky and serialism -- Indeterminacy -- Cage and other Americans -- Indeterminacy in European music -- Notational innovations -- Innovations in form and texture -- The implications of serialism and indeterminacy -- From pointillism to group composition -- Textural music -- New instrumental resources -- Stochastic music -- Corresponding developments in American music -- The new pluralism -- The post-serial age -- Quotation and collage -- Jazz, rock, and popular influences -- Ethnic sources -- A return to simplicity: minimalism and the new tonality -- Minimalism -- The rediscovery of tonality -- Microtonality -- Music and the external world -- New approaches to language -- Extensions in music theater -- Multimedia -- Traditional opera -- The encroachment of reality -- Environmental music -- Music and politics -- Developments in technology: electronic music -- Antecedents -- Musique concrète -- Electronic studios -- Synthesizers -- Live and electronic mixtures -- Live electronic music -- Computer music -- The impact of technology on twentieth-century music -- Epilogue: music today -- The current musical scene -- The culture of musical pluralism -- Musical tradition today -- A glimpse at the future.
Summary: Divided into three chronological sections which cover the entire century, this study explores national movements, as represented by Charles Ives and Ralph Vaughan Williams, philosophical movements as various as the Schoenberg-Webern alliance, New Romanticism and the boom in electronic music.
Holdings
Item type Current library Call number Status Barcode
General lending MTU Cork School of Music Library Lending 780.904 (Browse shelf(Opens below)) Available 00208500
General lending MTU Kerry North Campus Library First Floor Main 780.904 MOR (Browse shelf(Opens below)) Available 38888000742167
General lending MTU Kerry North Campus Library First Floor Main 780.904 MOR (Browse shelf(Opens below)) Available 38888000742126
Total holds: 0

Enhanced descriptions from Syndetics:

Morgan divides his text into three chronological sections. Beginning with such giants as Mahler, Richard Strauss and Debussy, he discusses national movements, as represented by Charles Ives and Ralph Vaughan Williams; philosophical movements as various as the Schoenberg/Berg/Webern alliance or "les six"; and the giants who were "sui generis", such as Bartok and Stravinsky. The "isms" such as serialism, minimalism, indeterminism, the new romanticism and pluralism, are clearly delineated and the electronic boom of the last decades is defined.

Bibliography: (pages 491-537) and index.

Introduction. The nineteenth-century musical background -- Part I. Beyond tonality: from 1900 to World War I -- The historical context: Europe at the turn of the century -- Some transitional figures -- Austria: Mahler -- Germany: Richard Strauss -- Busoni -- Pfitzner -- Reger -- France: Debussy -- Satie -- Russia: Skryabin -- The atonal revolution -- Schoenberg -- Schoenberg as theorist and teacher -- Webern -- Berg -- New tonalities -- Stravinsky -- Bartók -- Other European currents -- Russia: Rachmaninov and others -- Italy: the futurists -- Czechoslovakia: Janáček -- Hungary: Kodály -- Scandinavia: Sibelius and Nielsen -- France: Ravel -- Beyond the continent -- Music in England -- Vaughan Williams -- Holst -- Charles Ives and American music --

Part II. Reconstruction and new systems: between the wars -- The historical context: Europe after World War I -- Neo-classicism -- The "new spirit" in France -- Satie -- Les Six -- Poulenc -- Milhaud -- Honegger -- Stravinsky and neo-classicism -- Bartók -- The twelve-tone system -- Schoenberg -- Webern -- Berg -- The influence of politics -- Germany -- Hindemith -- Weill -- Russia -- Prokofiev -- Shostakovich -- Other Europeans -- Italy: Casella, Malipiero, and Dallapiccola -- Germany: Orff -- Austria: Hauer -- Krenek -- Poland: Szymanowski -- Czechoslovakia: Hába -- Spain: Falla -- England after World War I -- Walton -- Britten -- Tippett -- The United States -- The new American traditionalists -- Copland -- Sessions -- The experimental tradition in American music -- Cowell -- Partch -- Varèse -- Latin America -- Villa-Lobos -- Chávez -- Ginastera -- Other Latin Americans --

Part III. Innovation and fragmentation: from World War II to the present -- The historical context: the world and World War II -- Integral serialism -- The postwar compositional mood -- The serial revolution in France: Messiaen and Boulez -- Serialism in Germany: Stockhausen -- American serialism: Babbitt -- Stravinsky and serialism -- Indeterminacy -- Cage and other Americans -- Indeterminacy in European music -- Notational innovations -- Innovations in form and texture -- The implications of serialism and indeterminacy -- From pointillism to group composition -- Textural music -- New instrumental resources -- Stochastic music -- Corresponding developments in American music -- The new pluralism -- The post-serial age -- Quotation and collage -- Jazz, rock, and popular influences -- Ethnic sources -- A return to simplicity: minimalism and the new tonality -- Minimalism -- The rediscovery of tonality -- Microtonality -- Music and the external world -- New approaches to language -- Extensions in music theater -- Multimedia -- Traditional opera -- The encroachment of reality -- Environmental music -- Music and politics -- Developments in technology: electronic music -- Antecedents -- Musique concrète -- Electronic studios -- Synthesizers -- Live and electronic mixtures -- Live electronic music -- Computer music -- The impact of technology on twentieth-century music -- Epilogue: music today -- The current musical scene -- The culture of musical pluralism -- Musical tradition today -- A glimpse at the future.

Divided into three chronological sections which cover the entire century, this study explores national movements, as represented by Charles Ives and Ralph Vaughan Williams, philosophical movements as various as the Schoenberg-Webern alliance, New Romanticism and the boom in electronic music.

ITT Module MUSC71002

Table of contents provided by Syndetics

  • Preface
  • Introduction: The Nineteenth-Century Musical Background (p. 1)
  • Chapter I The Historical Context: Europe at the Turn of the Century (p. 11)
  • Chapter II Some Transitional Figures (p. 18)
  • Chapter III The Atonal Revolution (p. 62)
  • Chapter IV New Tonalities (p. 89)
  • Chapter V Other European Currents (p. 111)
  • Chapter VI Beyond the Continent (p. 128)
  • Part II Reconstruction and New Systems: between the Wars (p. 149)
  • Chapter VII The Historical Context: Europe after World War I (p. 151)
  • Chapter VIII Neo-Classicism (p. 159)
  • Chapter IX The Twelve-Tone System (p. 187)
  • Chapter X The Influence of Politics (p. 220)
  • Chapter XI Other Europeans (p. 251)
  • Chapter XII England after World War I (p. 270)
  • Chapter XIII The United States (p. 283)
  • Chapter XIV Latin America (p. 315)
  • Chapter XV The Historical Context: the World after World War II (p. 325)
  • Chapter XVI Integral Serialism (p. 333)
  • Chapter XVII Indeterminacy (p. 359)
  • Chapter XVIII Innovations in Form and Texture (p. 379)
  • Chapter XIX The New Pluralism (p. 407)
  • Chapter XX A Return to Simplicity: Minimalism and the New Tonality (p. 423)
  • Chapter XXI Music and the External World (p. 441)
  • Chapter XXII Developments in Technology: Electronic Music (p. 461)
  • Chapter XXIII Epilogue: Music Today (p. 481)
  • Bibliography (p. 491)
  • Index (p. 539)