Strunk's Source Readings in Music History: The Twentieth Century (Revised Edition) (Vol. 7),9780393967005

Strunk's Source Readings in Music History: The Twentieth Century (Revised Edition) (Vol. 7)

by ;
Edition: Revised
ISBN13: 9780393967005
ISBN10: 039396700X
Format: Paperback
Pub. Date: 1997-09-17
Publisher(s): W. W. Norton & Company
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Summary

Twentieth-century music has been described as complex, vital, diverse, uncertain, experimental, self-conscious, innovative-the list is long and growing. Composers have been both credited with and accused of always searching for something "new," writing works that are mechanistic but romantic, meaningful but unskilled, beautiful but ugly! In The Twentieth Century , Robert P. Morgan helps us grasp the flavor of the era by presenting forty-five readings from the period, nearly all written by active participants in the musical developments of the time. Thus we tune in to the voices of some thirty composers-from Busoni to Babbitt, Ives to Xenakis, Satie to Stravinsky-and learn from performers Anderson and Landowska, philosopher-critics Adorno, Dahlhaus, and Meyer, and writers Cocteau, Barthes, and Eco.

Table of Contents

Notes and Abbreviations xiii
Introduction 3(10)
I Esthetic Positions
Two Letters to Ferruccio Busoni
13(7)
Arnold Schoenberg
From ``Cock and Harlequin''
20(4)
Jean Cocteau
From Poetics of Music
24(6)
Igor Stravinsky
``Experimental Music''
30(5)
John Cage
``Who Cares if You Listen?''
35(6)
Milton Babbitt
``Who Listens if You Care?''
41(10)
Evan Ziporyn
II Expanded Sonic Resources
From Sketch of a New Esthetic of Music
51(7)
Ferruccio Busoni
The Art of Noises
58(6)
Luigi Russolo
``Music and Its Future''
64(5)
Charles Ives
``The Liberation of Sound''
69(7)
Edgard Varese
``Tendencies in Recent Music''
76(9)
Pierre Boulez
III Compositional Approaches
From ``Composition with Twelve Tones''
85(11)
Arnold Schoenberg
From ``The Concept of Unity in Electronic Music''
96(5)
Karlheinz Stockhausen
``Free Stochastic Music''
101(5)
Iannis Xenakis
From ``Metamorphoses of Musical Form''
106(9)
Gyorgi Ligeti
From Writings about Music
115(8)
Steve Reich
IV Music, Society, Politics
``Shifts in Musical Production''
123(2)
Kurt Weill
Speech for the Dusseldorf Music Festival
125(2)
Joseph Goebbels
``Chaos Instead of Music''
127(2)
Pravda
Three Commentaries
129(3)
Sergey Prokofiev
From Testimony
132(4)
Dmitri Shostakovich
From My Lord, What a Morning
136(3)
Marian Anderson
From ``A Scratch Orchestra: Draft Constitution''
139(2)
Cornelius Cardew
From Streaks of Life
141(4)
Ethel Smyth
```I Recycle Sounds': Do Women Compose Differently?''
145(6)
Eva Rieger
From ``Horizons Unlimited''
151(2)
William Grant Still
``The Black American Composer''
153(8)
Olly Wilson
V Extending Western Music's Boundaries
Three Articles for Music Journals
161(5)
Claude Debussy
From Two Articles on the Influence of Folk Music
166(6)
Bela Bartok
From Notes without Music
172(2)
Darius Milhaud
``The Return to the Music of the Past''
174(2)
Wanda Landowska
``Patterns of Music''
176(2)
Harry Partch
From ``Mozart and the Ethnomusicological Study of Western Culture''
178(13)
Bruno Nettl
VI Concert Life, Reception, and the Culture Industry
From ``Society for Private Music Performances in Vienna''
191(3)
Alban Berg
From ``A Social Critique of Radio Music''
194(5)
Theodor W. Adorno
From Intermission Talk for Toscanini's Final Radio Concert
199(2)
Lawrence Gilman
``Musica Practica''
201(4)
Roland Barthes
From Postmodernist Culture
205(10)
Steven Connor
VII Pluralism
From ``Memoirs of an Amnesiac''
215(3)
Erik Satie
From Two Interviews
218(2)
Nadia Boulanger
From Music Ho!
220(4)
Constant Lambert
From Music, the Arts, and Ideas
224(5)
Leonard B. Meyer
From ``The Poetics of the Open Work''
229(5)
Umberto Eco
From ``On the Third String Quartet''
234(5)
George Rochberg
``Music---or Musics?''
239(6)
Carl Dahlhaus
Index 245

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