Music in the Late Twentieth Century (The Oxford History of Western Music 5) Seond Revised Edition

The Oxford History of Western Music is a magisterial survey of the traditions of Western music by one of the most prominent and provocative musicologists of our time. This text illuminates, through a representative sampling of masterworks, those themes, styles, and currents that give shape and direction to each musical age. Taking a critical perspective, this text sets the details of music, the chronological sweep of figures, works, and musical ideas, within the larger context of world affairs and cultural history. Written by an authoritative, opinionated, and controversial figure in musicology, The Oxford History of Western Music provides a critical aesthetic position with respect to individual works, a context in which each composition may be evaluated and remembered. Taruskin combines an emphasis on structure and form with a discussion of relevant theoretical concepts in each age, to illustrate how the music itself works, and how contemporaries heard and understood it. It also describes how the context of each stylistic period-key cultural, historical, social, economic, and scientific events-influenced and directed compositional choices. Unlike earlier surveys, Taruskin provides greater attention to the full range of 20th century music, including American music as part of the mainstream tradition of western music, women in music, and popular music. The five volumes of main text each have musical examples and black-and-white pictures throughout, source notes, and an index. The sixth volume contains a comprehensive chronology, further reading, and an index to the entire set. A NEW AGE......Page 1 Notes:......Page 10 COLD WAR......Page 11 Notes:......Page 13 DENUNCIATION AND CONTRITION......Page 14 Notes:......Page 21 BREAKING RANKS......Page 23 ZERO HOUR......Page 26 Notes:......Page 31 POLARIZATION......Page 33 Notes:......Page 35 DARMSTADT......Page 37 Notes:......Page 41 FIXATIONS......Page 42 Notes:......Page 48 “TOTAL SERIALISM”......Page 49 Notes:......Page 63 DISQUIETING QUESTIONS......Page 65 Notes:......Page 66 DISQUIETING ANSWERS......Page 67 Notes:......Page 77 SOLACE IN RITUAL......Page 79 Notes:......Page 86 POSTER BOY......Page 87 Notes:......Page 95 MEANS AND ENDS......Page 97 Notes:......Page 106 WHOSE LIBERATION?......Page 108 Notes:......Page 117 NE PLUS ULTRA (GOING AS FAR AS YOU CAN GO)......Page 119 Notes:......Page 128 PURIFICATION AND ITS DISCONTENTS......Page 130 Notes:......Page 136 PERMISSION......Page 137 Notes:......Page 144 MUSIC AND POLITICS REVISTED......Page 146 Notes:......Page 149 INTERNALIZED CONFLICT......Page 151 Notes:......Page 157 CONFLICTS DENIED......Page 159 Notes:......Page 168 NEW NOTATIONS......Page 170 Notes:......Page 175 PRESERVING THE SACROSANCT......Page 176 Notes:......Page 182 CONVERSIONS......Page 183 Notes:......Page 194 “MAINSTREAM” DODECAPHONY......Page 196 Notes:......Page 206 THE GRAND PRIZE......Page 207 Notes:......Page 213 THE PATH TO THE NEW/OLD MUSIC......Page 214 Notes:......Page 226 REQUIEM FOR A HEAVYWEIGHT......Page 228 Notes:......Page 235 ACADEMICISM, AMERICAN STYLE......Page 236 Notes:......Page 244 AN INTEGRATED MUSICAL TIME/SPACE......Page 246 Notes:......Page 258 FULL REALIZATION......Page 259 ANOTHER COLD WAR......Page 266 Notes:......Page 269 LOGICAL POSITIVISM......Page 270 Notes:......Page 273 THE NEW PATRONAGE AND ITS FRUITS......Page 275 Notes:......Page 281 ELITES AND THEIR DISCONTENTS......Page 282 Notes:......Page 286 LIFE WITHIN THE ENCLAVE......Page 288 Notes:......Page 294 But Can You Hear It?......Page 295 Notes:......Page 297 ULTIMATE REALIZATION OR REDUCTIO AD ABSURDUM?......Page 298 Notes:......Page 304 TAPE......Page 305 Notes:......Page 308 AN OLD DREAM COME TRUE......Page 309 Notes:......Page 312 GENERATING SYNTHETIC SOUNDS......Page 314 Notes:......Page 320 A MAXIMALIST OUT OF SEASON......Page 322 Notes:......Page 327 “REAL” VS. “PURE”......Page 329 Notes:......Page 336 THE NEW TECHNOLOGY SPREADS......Page 337 Notes:......Page 345 THE BIG SCIENCE PHASE......Page 347 Notes:......Page 357 A HAPPY ENDING......Page 359 Notes:......Page 366 BIG QUESTIONS REOPENED......Page 368 Notes:......Page 373 RECIPROCITY......Page 375 Notes:......Page 378 RENAISSANCE OR CO-OPTATION?......Page 380 Notes:......Page 386 HISTORY OR SOCIETY?......Page 388 Notes:......Page 394 SOME FACTS AND FIGURES......Page 396 A MODERN HERO......Page 401 Notes:......Page 406 SOCIAL THEMES AND LEITMOTIVES......Page 407 Notes:......Page 422 ALLEGORY (BUT OF WHAT?)......Page 423 Notes:......Page 432 EXOTIC/EROTIC......Page 435 Notes:......Page 448 TO SERVE BY CHALLENGING......Page 449 Notes:......Page 453 EXPLAIN NOTHING......Page 455 Notes:......Page 465 FROM POPULISM TO PROBLEM SOLVING: AN AMERICAN CAREER......Page 467 Notes:......Page 478 THEORY: THE TIME SCREEN......Page 479 Notes:......Page 487 PRACTICE: THE FIRST QUARTET......Page 488 Notes:......Page 506 RECEPTION......Page 507 Notes:......Page 511 A WHOLLY DISINTERESTED ART?......Page 513 Notes:......Page 521 AT THE PINNACLE......Page 523 Notes:......Page 531 WHAT WERE THEY?......Page 533 THE MUSIC OF YOUTH......Page 540 Notes:......Page 548 THE BRITISH “INVASION”......Page 550 Notes:......Page 553 DEFECTION......Page 554 Notes:......Page 565 ROCK ‘N’ ROLL BECOMES ROCK......Page 567 Notes:......Page 577 FUSION......Page 579 Notes:......Page 582 INTEGRATION WITHOUT PREJUDICE?......Page 584 Notes:......Page 593 RADICAL CHIC......Page 594 Notes:......Page 605 NEW SITES OF INNOVATION......Page 607 Notes:......Page 613 LEGENDARY BEGINNINGS......Page 615 Notes:......Page 621 MUSIC AS SPIRITUAL DISCIPLINE......Page 622 A CONTRADICTION IN TERMS?......Page 627 Notes:......Page 636 “CLASSICAL” MINIMALISM......Page 638 Notes:......Page 644 SECRETS OF STRUCTURE......Page 646 Notes:......Page 655 “ALL MUSIC IS FOLK MUSIC”......Page 656 Notes:......Page 664 A POSTMODERNIST MASTERWORK?......Page 666 Notes:......Page 672 “CROSSOVER”: WHO'S ON TOP?......Page 674 Notes:......Page 680 DISCO AT THE MET......Page 682 Notes:......Page 688 AMERICANIZATION......Page 690 Notes:......Page 697 CLOSING THE SPIRITUAL CIRCLE......Page 698 Notes:......Page 712 POST MODERNISM?......Page 713 Notes:......Page 718 ITS BEGINNINGS FOR MUSIC......Page 720 Notes:......Page 724 A PARENTHESIS ON COLLAGE......Page 725 Notes:......Page 733 COLLAGE AS THEATER......Page 734 Notes:......Page 744 APOSTASY......Page 746 Notes:......Page 753 ESTHETICS OF PASTICHE......Page 755 Notes:......Page 759 ACCESSIBILITY......Page 761 Notes:......Page 772 COGNITIVE CONSTRAINTS?......Page 773 Notes:......Page 779 WHERE TO GO FROM HERE?......Page 780 Notes:......Page 789 ONE PROPOSAL......Page 791 Notes:......Page 797 THE END OF SOVIET MUSIC......Page 799 Notes:......Page 804 POLYSTYLISTICS......Page 805 Notes:......Page 816 GRAND OLD MEN......Page 817 Notes:......Page 821 TERMINAL COMPLEXITY......Page 823 Notes:......Page 825 “BIG SCIENCE” ECLIPSED......Page 826 Notes:......Page 831 TWENTIETH-CENTURY “ORALITY”......Page 833 HOBO ORIGINS......Page 835 Notes:......Page 844 IMAGINARY FOLKLORE......Page 846 Notes:......Page 851 A FEMININE REDOUBT......Page 853 Notes:......Page 859 MUSIC AND COMPUTERS......Page 860 THE ELITE PHASE......Page 861 Notes:......Page 867 SPECTRALISM......Page 869 Notes:......Page 872 “THEN ALONG CAME MIDI!”61......Page 873 Notes:......Page 875 FIRST FRUITS......Page 877 Notes:......Page 879 MODERNISTS IN POSTMODERNIST CLOTHING?......Page 881 Notes:......Page 887 A GLIMPSE OF THE FUTURE?......Page 888 Notes:......Page 893 BACK TO NATURE?......Page 894 Notes:......Page 898 PAYING THE PIPER, CALLING THE TUNE......Page 900 A NEW TOPICALITY......Page 904 Notes:......Page 915 A NEW SPIRITUALITY......Page 917 Notes:......Page 923 The universally acclaimed and award-winning Oxford History of Western Music is the eminent musicologist Richard Taruskin's provocative, erudite telling of the story of Western music from its earliest days to the present. Each book in this superlative five-volume set illuminates-through a representative sampling of masterworks-the themes, styles, and currents that give shape and direction to a significant period in the history of Western music. Music in the Late Twentieth Century is the final installment of the set, covering the years from the end of World War II to the present. In these pages, Taruskin illuminates the great compositions of recent times, offering insightful analyses of works by Aaron Copland, John Cage, Milton Babbitt, Benjamin Britten, Steve Reich, and Philip Glass, among many others. He also looks at the impact of electronic music and computers, the rise of pop music and rock 'n' roll, the advent of postmodernism, and the contemporary music of Laurie Anderson, John Zorn, and John Adams. Laced with brilliant observations, memorable musical analysis, and a panoramic sense of the interactions between history, culture, politics, art, literature, religion, and music, this book will be essential reading for anyone who wishes to understand this rich and diverse period. V. 1. The Earliest Notations To The Sixteenth Century -- V. 2. The Seventeenth And Eighteenth Centuries -- V. 3. The Nineteenth Century -- V. 4. The Early Twentieth Century -- V. 5. The Late Twentieth Century. Richard Taruskin. Originally Published: 2005. New Introductions And Prefaces Added To Each Volume. Includes Bibliographical References And Index. Electronic Reproduction. [s.l.] : Hathitrust Digital Library, 2010. Master And Use Copy. Digital Master Created According To Benchmark For Faithful Digital Reproductions Of Monographs And Serials, Version 1. Digital Library Federation, December 2002. Http://purl.oclc.org/dlf/benchrepro0212 "This volume examines the music of the late twentieth century, ranging from Milton Babbitt and Edgard Varese to Steven Reich and Philip Glass . Taking a critical perspective, Taruskin sets the details of music, the chronological sweep of figures, works, and musical ideas, within the larger context of world affairs and cultural history." --Bookmanager Starting from scratch Indeterminacy The apex The third revolution Standoff (I) Standoff (II) The sixties A harmonious avant-garde? After everything Millennium's end.