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The Modernist Legacy: Essays on New Music 1st Edition

  • ISBN-10 0754662608
  • ISBN-13 978-0754662600
  • Edition 1st
  • Publisher Routledge
  • Publication date March 28, 2009
  • Language English
  • Dimensions 6.14 x 0.69 x 9.21 inches
  • Print length 276 pages
  • See all details

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  • Publisher ‏ : ‎ Routledge; 1st edition (March 28, 2009)
  • Language ‏ : ‎ English
  • Hardcover ‏ : ‎ 276 pages
  • ISBN-10 ‏ : ‎ 0754662608
  • ISBN-13 ‏ : ‎ 978-0754662600
  • Item Weight ‏ : ‎ 16 ounces
  • Dimensions ‏ : ‎ 6.14 x 0.69 x 9.21 inches

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the modernist legacy essays on new music

the modernist legacy essays on new music

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This collection of essays offers a historical reappraisal of what musical modernism was, and what its potential for the present and future could be. It thus moves away from the binary oppositions that have beset twentieth-century music studies in the past, such as those between modernism and postmodernism, between conceptions of musical autonomy and of cultural contingency and between formalist-analytical and cultural-historical approaches. Focussing particularly on music from the 1970s to the 1990s, the volume assembles approaches from different perspectives to new music with a particular emphasis on a critical reassessment of the meaning and function of the legacy of musical modernism. The authors include scholars, musicologists and composers who combine culturally, socially, historically and aesthetically oriented approaches with analytical methods in imaginative ways.

Table of Contents

Björn Heile is Lecturer in Music and Head of Department at the University of Sussex, UK. He is the author of The Music of Mauricio Kagel as well as numerous other publications, mostly on new music and experimental music theatre.

Critics' Reviews

’This collection present[s] ways in which we might (and must) reconsider modernism, enlarging our understanding of its breadth, depth and reach, and projecting a happier future for its reception. It does this through the sharpness of its arguments for the expressive, technical and social achievements of musical modernism. ... this is a collection of top-drawer contributions, intelligently compiled and thoroughly polished for publication.’ Tempo

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the modernist legacy essays on new music

The Modernist Legacy: Essays on New Music

  • Editor: Heile, Bjorn
This collection present[s] ways in which we might (and must) reconsider modernism, enlarging our understanding of its breadth, depth and reach, and projecting a happier future for its reception.... — Tempo More…
  • ISBN: 9780754662600 (0754662608)
  • Edition Information: New ed
  • Edition Type: Hardback
  • Publisher: Ashgate Publishing
  • Date Published: 28th Mar 2009

Printed on demand

Estimated despatch time 7 - 10 days

  • Contents: Introduction: new music and the modernist legacy, BjArn Heile
  • Part I New Music , Social Debates and the Aesthetics of Critical Modernism: Modernism's moment of plenitude, Andrew Timms
  • Fields of rubble: on the poetics of music after the post modern, John Croft
  • Spectralism, politics and the post-industrial imagination, Eric Drott
  • The scream in avant-garde music: the new left and the rediscovery of the body, Beate Kutschke
  • Verbal discourse as aesthetic arbitrator in contemporary music, Ian Pace
  • Weltmusik and the globalization of new music, BjArn Heile. Part II Aspects of Compositional Poetics: Temps perdu: Aldo Clementi and the eclipse of music as praxis, David Osmond-Smith
  • Feldman - Beckett - Johns: patterning, memory and subjectivity, Catherine Laws
  • Brian Fernyhough, 'postmodern modernist', Lois Fitch
  • The electroacoustic music of Henri Pousseur and the 'open' form, John Dack
  • Self-portrait with Boulez and Machaut (and Ligeti is there as well): Harrison Birtwistles's Hoquetus Petrus, Mark Delaere
  • Local polymetric structures in Elliott Carters 90+ for Piano (1994), Ave Poudrier
  • Select bibliography

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the modernist legacy essays on new music

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The Modernist Legacy: Essays on New Music Paperback – 11 Nov. 2016

  • ISBN-10 1138259837
  • ISBN-13 978-1138259836
  • Edition 1st
  • Publication date 11 Nov. 2016
  • Language English
  • Dimensions 15.6 x 1.6 x 23.4 cm
  • Print length 276 pages
  • See all details

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  • Publisher ‏ : ‎ Routledge; 1st edition (11 Nov. 2016)
  • Language ‏ : ‎ English
  • Paperback ‏ : ‎ 276 pages
  • ISBN-10 ‏ : ‎ 1138259837
  • ISBN-13 ‏ : ‎ 978-1138259836
  • Dimensions ‏ : ‎ 15.6 x 1.6 x 23.4 cm

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This collection of essays offers a historical reappraisal of what musical modernism was, and what its potential for the present and future could be. It thus moves away from the binary oppositions that have beset twentieth-century music studies in the past, such as those between modernism and postmodernism, between conceptions of musical autonomy and of cultural contingency and between formalist-analytical and cultural-historical approaches. Focussing particularly on music from the 1970s to the 1990s, the volume assembles approaches from different perspectives to new music with a particular emphasis on a critical reassessment of the meaning and function of the legacy of musical modernism. The authors include scholars, musicologists and composers who combine culturally, socially, historically and aesthetically oriented approaches with analytical methods in imaginative ways.

TABLE OF CONTENTS

Chapter | 10  pages, introduction: new music and the modernist legacy, part i | 110  pages, new music, social debates and the aesthetics of critical modernism, chapter 1 | 12  pages, modernism’s moment of plenitude, chapter 2 | 14  pages, fields of rubble: on the poetics of music after the postmodern, chapter 3 | 21  pages, spectralism, politics and the post-industrial imagination, chapter 4 | 20  pages, the scream in avant-garde music: the new left and the rediscovery of the body, chapter 5 | 20  pages, verbal discourse as aesthetic arbitrator in contemporary music, chapter 6 | 20  pages, weltmusik and the globalization of new music, part ii | 114  pages, aspects of compositional poetics, chapter 7 | 12  pages, temps perdu: aldo clementi and the eclipse of music as praxis, chapter 8 | 24  pages, feldman – beckett – johns: patterning, memory and subjectivity, chapter 9 | 18  pages, brian ferneyhough, ‘postmodern modernist’ 1, chapter 10 | 14  pages, the electroacoustic music of henri pousseur and the ‘open’ form, chapter 11 | 14  pages, self-portrait with boulez and machaut (and ligeti is there as well): harrison birtwistle’s hoquetus petrus, chapter 12 | 30  pages, local polymetric structures in elliott carter’s 90+ for piano (1994).

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the modernist legacy essays on new music

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the modernist legacy essays on new music

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Björn heile, ed., the modernist legacy: essays on new music (farnham: ashgate, 2009), isbn 978-0-7546-6260-0 (hb).

Published online by Cambridge University Press:  23 February 2012

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1 The contributors to The Pleasure of Modernist Music: Listening, Meaning, Intention, Ideology (Rochester, NY: University of Rochester Press, 2004) take a ‘postmodern approach’ to modernist music, according to editor Arved Ashby. Metzer , David , in Musical Modernism at the Turn of the Twenty-First Century ( Cambridge : Cambridge University Press , 2009 ) Google Scholar , argues that a modernist tradition has persisted and developed since the 1980s through contemporary composers’ reflections on compositional and expressive states first cultivated by earlier modernists. Straus , Joseph N. 's Twelve-Tone Music in America ( Cambridge : Cambridge University Press , 2009 ) Google Scholar reveals a modernist tradition much richer and deeper than that suggested by the label ‘post-war serialism’.

2 In addition to Drott's recent scholarship, a notable application of Bourdieusian sociology to French modernist music of this period is, of course, Born , Georgina 's Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde ( Berkeley : University of California Press , 1995 ) CrossRef Google Scholar , though the original ethnographic fieldwork for this study is now more than twenty-five years old.

3 Kutschke , Beate , Neue Linke / Neue Musik: Kulturtheorien und künstlerische Avantgarde in den 1960er und 70er Jahren ( Cologne : Böhlau , 2007 ) Google Scholar .

4 Most notable, perhaps, has been Hardt , Michael and Negri , Antonio , Empire ( Cambridge, MA : Harvard University Press , 2000 ) Google Scholar . Žižek , Slavoj , in Organs without Bodies ( London : Routledge , 2004 ) Google Scholar and numerous articles, has questioned the efficacy and ethics of applying Deleuzian concepts to the critique of global capitalism. From a very different but relevant perspective see also John Rahn's discussion of the anthropological influences on Deleuze and Guattari in ‘ Mille Plateaux , You Tarzan: a Musicology of (an Anthropology of (an Anthropology of A Thousand Plateaus ))’, Perspectives of New Music 46/2 (2008), 81–92.

5 From Ferneyhough , Brian , ‘Il Tempo della Figura’, in Collected Writings , ed. Boros , James and Toop , Richard ( Amsterdam : Harwood Academic Publishers , 1995 ), 41 Google Scholar ; italics original.

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  • Volume 8, Issue 1
  • TRENT LEIPERT
  • DOI: https://doi.org/10.1017/S1478572211000314

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Review of Björn Heile, ed., The Modernist Legacy: Essays on New Music

Profile image of Trent C Leipert

twentieth-century music, 8/1 (March, 2011): 15–21.

Related Papers

Published in Modernist Cultures (May 2013)

David James

the modernist legacy essays on new music

This is a very large book. It is over 500 pages of 1.5 spaced A4 paper in very small (11-point, I believe) font. Its editors, Bjorn Heile and Charles Wilson, have assembled a dense phalanx of scholars offering interpretations and methodological approaches to the question of musical modernism which often diverge and mutually contradict. Some, like J. P. E. Harper-Scott, present what is in essence a primer to a much more detailed and expansive methodological framework. Others, like Mark Berry a...

The Musical Times

Nigel Simeone

Music Analysis

Giles Hooper

Phrase and Subject: Studies in Music and Literature, ed. Delia da Sousa Correa (Oxford: Legenda, 2006), pp. 87-98

Many Anglo-American modernist authors were aware of and associated with their musician counterparts: several wrote as music critics for journals in London, Paris, and New York, and some occasionally attempted musical projects of their own devising, or in collaboration with established musicians. The rich cultural and historical contexts in which literary modernism and music (modernist or otherwise) interacted tell of the aesthetic aspirations of individual writers and, more generally, "of the age." This field of scholarship that has grown around this topic continues to do so with new archival research and critical review. Indeed, the relations between music and literature in modernism have received, for the most part, thorough treatment by literary critics and historians (such as Marjorie Perloff, Steven Adams, and Roger Shattuck). The present essay attempts to explore the relationship between music and modernist text production from the perspective of literary composition and the status of aesthetic objects. Rather than treat the interaction of music and literature as simply a thematic or rhetorical device, this essay will observe how the two media productively cohabit aesthetic space. In particular, the essay will focus on three cases where musical notation actually occurs within a literary text: the violin line of Clément Janequin's Le Chant des Oiseaux in Canto LXXV of Ezra Pound's Cantos, the score of "The Ballad of Persse O'Reilly" in James Joyce's Finnegans Wake, and the threnes and choruses in Samuel Beckett's Watt. The presence of musical scores in such works is entirely in keeping with their eclectic styles and modes, yet is of a quite specific significance: each text interrogates its status as a literary object, and uses musical notation as a means of interrogation. Music signifies a generic crossing-over, a way of developing aesthetic concepts of the Gesamtkunstwerk (the "total artwork" that entails the genres of music, poetry, visual art, etc.) and the paragone (the classical comparison between the arts). But in these particular examples, the embedding of one artwork within another also indicates the way each text questions the grounds of its construction and composition. Each of Canto LXXV, Finnegans Wake and Watt was composed under conditions of exile and dislocation, and each text endured a somewhat ambiguous and difficult journey into print. Their provisional histories as literary objects intersect with the fuzzy ontological boundaries they share with other media. After elaborating the relation between the scores and each text in which they are embedded, this essay will describe the specific way each text interrogates its aesthetic and ontological grounds. The essay will conclude with some remarks on the possibilities for rethinking modernist text status and production, and for situating the complex interactions between music and literature found in these texts more broadly within modernist literary culture. Pound, Joyce and Beckett sought to examine the very fabric of their medium. The presence and location of music within their work provides a mechanism through which the writer and reader can engage in such a meditation.

Twentieth-Century Music 20.3

Gavin S . K . Lee 李勋康

Drawing on “global modernisms” from literary studies, this special issue is the first publication to articulate and theorize “global musical modernisms” as a critical and ethically complex framework that is anchored in the relation between modernities and modernisms, as well as the colonial context underlying both terms. Fundamentally, global musical modernisms expand the temporal, spatial, and genre boundaries of “musical modernism” as it is conventionally understood. Navigating the disciplinary divide between musicology and ethnomusicology that has contributed to the late emergence of “global musical modernisms,” the introduction theorizes the term through the lenses of aesthetics, sociohistorical context, and the resistive self-consciouness that is related to multiple schools of European and global modernity/modernism studies, and central to the rethinking of musical modernism in global terms. But does global musical modernisms navigate coloniality in a way that replicates or ameliorates oppression, or both? This special issue provides readers with a range of perspectives on that question.

Musicology Today

Andreea Stoicescu

My study is an attempt to philosophically account for the competing influence in the 20th century musical understanding and practice of two radical and opposed aesthetics: the ideal of transgressive art (defined by Anthony Julius) associated with the avant-garde and the ideal of recovering the original and authentic art associated with extreme nationalism. My thesis is that these perspectives, under their extreme formulations, are, in fact, kindred sides of the broader philosophy of Modernity as developed since the Enlightenment. Also, as a consequence, by deconstructing the historical meaning and justification of these aesthetic forms of radicalism, one can reinterpret the artistic profiles of personalities such as Arnold Schönberg, thought of either as a revolutionary who totally rebelled against the musical past (as Theodor W. Adorno considered), or as not revolutionary enough (as Pierre Boulez thought). My historical methodology is based on using the two key-terms, “originality” and “transgression”, as regulative concepts within the constellation (a concept proposed by Theodor Adorno in Negative Dialectics) of musical modernism. Thereby, I will show how these key-terms are connected to a network of other romantic concepts: organism, authenticity, aura (Walter Benjamin’s sense), integrity, folklore, and contemplation, in order to reveal how the structural and social meaning ascribed to this set of concepts greatly influenced the process of redefining musical thinking and musical reception. The main philosophies I will use as conceptual landmarks to clarify these interconnections are Martin Heidegger’s remarks about the work of art and Theodor Adorno’s critique of Heideggerian terminology and presuppositions. My overall conclusion will point towards the necessity of going beyond such radical modern oppositions with the aim of finding new types of theoretical principles and perspectives, more adequate as conceptual tools for dealing with contemporary artistic realities. LINK: musicologytoday.ro/49/MT49studiesStoicescu.pdf

Sarah Collins

This article explores the limitations of the idea of ‘contemporary music’. After discussing recent critiques of the ‘contemporary’, it turns to an early episode in its history, examining how the notion functioned in relation to the challenges faced by the International Society for Contemporary Music from the early-1920s until the mid-1940s. I argue that there is a structural similarity between the problems associated with the ‘contemporary’ and those associated with the notion of the ‘international’, and that during the interwar period, the category of the ‘contemporary’ in music was made to lend its chimera of neutrality to the politics of internationalism. Keywords: International Society for Contemporary Music, Modernism, Internationalism, Edward Dent, Contemporary Music

Conference on Interdisciplinary Musicology

Nena Beretin

Björn Heile and Charles Wilson (eds), The Routledge Research Companion to Modernism in Music

Robert Adlington

Literary historian Rachel Potter has argued for ‘two genealogies of modernism’: the first is marked by hostility to a mass public and everyday life; the other champions democracy and the popular voice. This chapter examines the second of these two genealogies, as it manifests itself in music. What happens when music that rejects fundamental aspects of culturally dominant musical styles does so in the name of ‘the people’? Drawing upon a range of examples including early Soviet modernism, post-war Italian communist composition, African-American free jazz and contemporary noise music, my chapter critically surveys the different stances that have been taken by musicians on this question. I then proceed to address two persistent problems that confront any progressive musician wishing to make the case that their practice serves the popular cause. The first of these is difficulty: what places do pleasure and challenge occupy in modernist music, and how might the apparent chasm between practitioners’ and audiences’ experiences be bridged? The second is difference: how does the modernist impulse to contest mainstream culture contend with the present-day heterogeneity of differing cultural norms, subject positions and concepts of the aesthetic?

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COMMENTS

  1. The Modernist Legacy: Essays on New Music

    Focussing particularly on music from the 1970s to the 1990s, the volume assembles approaches from different perspectives to new music with a particular emphasis on a critical reassessment of the meaning and function of the legacy of musical modernism.

  2. The Modernist Legacy: Essays on New Music

    Focussing particularly on music from the 1970s to the 1990s, the volume assembles approaches from different perspectives to new music with a particular emphasis on a critical reassessment of the meaning and function of the legacy of musical modernism.

  3. The Modernist Legacy: Essays on New Music

    Focussing particularly on music from the 1970s to the 1990s, the volume assembles approaches from different perspectives to new music with a particular emphasis on a critical reassessment of the meaning and function of the legacy of musical modernism. The authors include scholars, musicologists and composers who combine culturally, socially ...

  4. The Modernist Legacy: Essays on New Music

    This collection of essays offers a historical reappraisal of what musical modernism was, and what its potential for the present and future could be. It thus moves away from the binary oppositions that have beset twentieth-century music studies in the past, such as those between modernism and postmodernism, between conceptions of musical autonomy and of cultural contingency and between ...

  5. The Modernist Legacy: Essays on New Music

    The Modernist Legacy: Essays on New Music - Ebook written by Björn Heile. Read this book using Google Play Books app on your PC, android, iOS devices. Download for offline reading, highlight, bookmark or take notes while you read The Modernist Legacy: Essays on New Music.

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    The Modernist Legacy: Essays on New Music: buy this book online. Published by Ashgate Publishing. Editor: Heile, Bjorn.

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  10. The Modernist Legacy: Essays on New Music 1st Edition

    The Modernist Legacy: Essays on New Music 1st Edition is written by Bj Heile and published by Routledge. The Digital and eTextbook ISBNs for The Modernist Legacy: Essays on New Music are 9781351542418, 1351542419 and the print ISBNs are 9780754662600, 0754662608. Save up to 80% versus print by going digital with VitalSource. Additional ISBNs for this eTextbook include 0754662608, 1315085879 ...

  11. The Modernist Legacy: Essays on New Music

    Focussing particularly on music from the 1970s to the 1990s, the volume assembles approaches from different perspectives to new music with a particular emphasis on a critical reassessment of the meaning and function of the legacy of musical modernism. The authors include scholars, musicologists and composers who combine culturally, socially ...

  12. The Modernist Legacy: Essays on New Music

    This collection of essays offers a historical reappraisal of what musical modernism was, and what its potential for the present and future could be. It thus

  13. The Modernist Legacy: Essays on New Music

    This collection of essays offers a historical reappraisal of what musical modernism was, and w… This collection of essays offers a historical reapprais… The Modernist Legacy: Essays on New Music by Björn Heile | Goodreads

  14. The Modernist Legacy: Essays on New Music

    Focussing particularly on music from the 1970s to the 1990s, the volume assembles approaches from different perspectives to new music with a particular emphasis on a critical reassessment of the meaning and function of the legacy of musical modernism.

  15. The Modernist Legacy: Essays on New Music

    This collection of essays offers a historical reappraisal of what musical modernism was, and what its potential for the present and future could be. It thus moves away from the binary oppositions that have beset twentieth-century music studies in the past, such as those between modernism and postmodernism, between conceptions of musical autonomy ...

  16. Björn Heile, ed., The Modernist Legacy: Essays on New Music (Farnham

    The Modernist Legacy: Essays on New Music (Farnham: Ashgate, 2009), ISBN 978--7546-6260- (hb) - Volume 8 Issue 1. Last updated 20/06/24: Online ordering is currently unavailable due to technical issues. We apologise for any delays responding to customers while we resolve this. For further updates please visit our website: https://www ...

  17. Review of Björn Heile, ed., The Modernist Legacy: Essays on New Music

    The Modernist Legacy: Essays on New Music (Farnham: Ashgate, 2009), ISBN 978--7546-6260- (hb) Marginalized in the wake of musicology's belated postmodernist turn and the object of frequent criticism from the now not-so-new 'new musicology', late-modernist music studies may have seemed destined to follow new music into the silence that ...

  18. Introduction: New Music and the Modernist Legacy

    The Modernist Legacy: Essays on New Music (2017) 1-10 MLA; Harvard; CSL-JSON; BibTeX; Internet Archive. We are a US 501(c)(3) non-profit library, building a global archive of Internet sites and other cultural artifacts in digital form.

  19. The Modernist Legacy: Essays on New Music

    A collection of essays that offers a historical reappraisal of what musical modernism was. It assembles approaches from different perspectives to new music with a particular emphasis on a critical reassessment of the meaning and function of the legacy of musical modernism.

  20. PDF The ModernisT Legacy

    vi The Modernist Legacy: Essays on New Music 9 Brian Ferneyhough, 'Postmodern Modernist' 159 Lois Fitch 10 The electroacoustic Music of henri Pousseur and the 'open' Form 177 John Dack 11 self-Portrait with Boulez and Machaut (and Ligeti is there as well): harrison Birtwistle's Hoquetus Petrus 191 Mark Delaere

  21. (PDF) Björn Heile, ed., The Modernist Legacy: Essays on New Music

    The Modernist Legacy: Essays on New Music (Farnham: Ashgate, 2009), ISBN 978--7546-6260- (hb) - Volume 8 Issue 1 - TRENT LEIPERT | Find, read and cite all the research you need on ResearchGate.

  22. PDF Introduction: new music and the Modernist legacy. In: Heile, B. (ed

    The Modernist Legacy: Essays on New Music. Ashgate, Farnham, pp. 1-11. ISBN 9780754662600 ... New Music and the Modernist Legacy Björn Heile In her 'manifesto' on contemporary poetry, 21 st-Century Modernism , Marjorie Perloff speaks of the 'tired dichotomy that has governed our discussion of twentieth-century