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LEADER 30763cam 22009374a 4500
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ocm54679502
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OCoLC
005
20160202101340.0
008
040730s2005 enkab b 001 0 eng
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a| 2004017897
019
a| 56437762
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a| 9780195169799
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020
a| 0195222709
q| (v. 1)
020
a| 9780195222708
q| (v. 1)
020
a| 0195222717
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a| 9780195222715
q| (v. 2)
020
a| 0195222725
q| (v. 3)
020
a| 9780195222722
q| (v. 3)
020
a| 0195222733
q| (v. 4)
020
a| 9780195222739
q| (v. 4)
020
a| 0195222741
q| (v. 5)
020
a| 9780195222746
q| (v. 5)
020
a| 019522275X
q| (v. 6)
020
a| 9780195222753
q| (v. 6)
035
a| (Sirsi) o54679502
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a| (OCoLC)54679502
z| (OCoLC)56437762
z| (OCoLC)57145553
z| (OCoLC)825114019
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100
1
a| Taruskin, Richard.
=| ^A134452
245
1
4
a| The Oxford history of Western music /
c| Richard Taruskin.
260
a| Oxford ;
a| New York, NY :
b| Oxford University Press,
c| 2005.
300
a| 6 volumes :
b| illustrations, 1 map ;
c| 26 cm
336
a| text
b| txt
2| rdacontent
337
a| unmediated
b| n
2| rdamedia
338
a| volume
b| nc
2| rdacarrier
504
a| Includes bibliographical references and index.
505
0
a| 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 -- v. 6. Resources: chronology, bibliography, master index.
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g| V. 1.
g| The curtain goes up:
t| "Gregorian" chant, the first literate repertory, and how it got that way.
g| Literacy ;
t| The Romans and the Franks ;
t| The Carolingian Renaissance ;
t| The chant comes north ;
t| The legend of St. Gregory ;
t| The origins of Gregorian chant ;
t| Monastic psalmody ;
t| The development of the liturgy ;
t| The mass and its music ;
t| Neumes ;
t| Persistence of oral tradition ;
t| Psalmody in practice: the office ;
t| Psalmody in practice: the mass ;
t| Evidence of "oral tradition" ;
g| Why we will never know how it all began ;
g| Beginnings, as far as we know them --
t| New styles and forms: Frankish additions to the original chant repertory.
t| Longissimae melodiae ;
t| Prosa ;
t| Sequences ;
g| How they were performed ;
t| Hymns ;
t| Tropes ;
t| The mass ordinary ;
t| Kyries ;
t| The full Franko-Roman mass ;
t| "Old Roman" and other chant dialects ;
g| What is art? --
t| Retheorizing music: new Frankish concepts of musical organization and their effect on composition.
t| Musica ;
t| Tonaries ;
t| A new concept of mode ;
t| Mode classification in practice ;
t| Mode as a guide to composition ;
t| Versus ;
t| Liturgical drama ;
t| Marian antiphons ;
t| Theory and the art of teaching --
t| Music of Feudalism and Fin' Amors: the earliest literate secular repertories: Aquitaine, France, Iberia, Italy, Germany.
g| Binarisms ;
t| Aquitaine.
t| Troubadours ;
t| Minstrels ;
t| High (Latinate) and low ("popular") style ;
t| Rhythm and meter ;
t| Trobar clus --
t| France.
t| Trouvères ;
g| Social transformation ;
t| Adam de la Halle and the formes fixes ;
t| The first opera? --
g| Geographical diffusion.
t| Cantigas ;
g| A note on instruments ;
t| Laude and related genres ;
t| Minnesang ;
g| Popularization, then and since ;
t| Meistersinger ;
t| Peoples and nations ;
g| What is an anachronism? ;
g| Philosophy of history --
t| Polyphony in practice and theory: early polyphonic performance practices and the twelfth-century blossoming of polyphonic composition.
g| Another renaissance ;
t| "Symphonia" and its modifications ;
t| Guido, John, and discant ;
t| Polyphony in aquitanian monastic centers ;
t| The Codex Calixtinus --
t| Notre Dame de Paris: Parisian cathedral music in the twelfth and thirteenth centuries and its makers.
g| The cathedral-university complex ;
g| Piecing the evidence together ;
t| Measured music ;
g| Whys and wherefores ;
t| Organum cum alio ;
t| Theory or practice? ;
t| Conductus at Notre Dame --
t| Music for an intellectual and political elite: the thirteenth-century motet.
g| A new class ;
t| The nascent motet ;
t| "Franconian" notation ;
g| Confluence of traditions ;
t| A new trobar clus? ;
t| Tenor "families" ;
t| Color and talea ;
t| The art of mélange ;
t| The "Petronian" motet --
t| Business math, politics, and paradise: the Ars Nova: notational and stylistic change in fourteenth-century France, isorhythmic motets from Machaut to Du Fay.
g| A "new art of music"? ;
t| Music from mathematics ;
g| Putting it into practice ;
g| Representing it ;
g| Backlash ;
g| Establishing the prototype:
t| the Roman de Fauvel ;
g| Taking a closer look ;
g| More elaborate patterning ;
t| Isorhythm ;
g| Music about music ;
t| Machaut: the occult and the sensuous ;
t| Musica ficta ;
t| Cadences ;
t| Ciconia: the motet as political show ;
t| Du Fay: the motet as mystical summa ;
t| A final word from Dante --
t| Machaut and his progeny: Machaut's songs and mass, music at the Papal Court of Avignon, Ars subtilior.
t| Maintaining the art of courtly song ;
g| Redefining (and re-refining) a genre ;
g| The top-down style ;
t| Cantilena ;
t| Functionally differentiated counterpoint ;
g| The luxuriant style ;
t| What instrumentalists did ;
t| Machaut's Mass and its background ;
t| Avignon ;
t| Votive formularies ;
t| Ci commence la messe de nostre dame ;
g| Kyrie ;
g| Gloria ;
g| Dismissal ;
t| Subtilitas ;
g| Canon ;
t| Ars Subtilior ;
t| Berry and Foix ;
g| Outposts ;
t| Faux-naïveté --
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g| V. 1 (continued).
t| "A pleasant place", music of the Trecento: Italian music of the fourteenth century.
g| Vulgar eloquence ;
t| Madrigal culture ;
t| A new discant style ;
t| The "wild bird" songs ;
t| Ballata culture ;
t| Landini ;
g| Late-century fusion ;
g| An important side issue: periodization --
t| Island and mainland: music in the British Isles through the early fifteenth century and its influence on the continent.
g| The first masterpiece? ;
t| Viking harmony ;
t| Insular fauna? ;
t| Pes motets and rondellus ;
t| The Worcester fragments ;
t| Nationalism? ;
t| "English descant" ;
t| The beginnings of "functional" harmony? ;
t| Old Hall and Roy Henry ;
g| Fortunes of war ;
t| Dunstable and the "contenance angloise" ;
t| Voluptuousness and how to acquire it ;
t| Fauxbourdon and faburden ;
t| Du Fay and Binchois --
t| Emblems and dynasties: the cyclic mass ordinary setting.
g| The internationalism of the upper crust ;
t| The "Tinctoris generation" ;
t| The cyclic Mass ;
t| Cantus firmus as trope of glory ;
t| "Caput" and the beginnings of four-part harmony ;
g| How controversies arise (and what they reveal) ;
g| Patterns of emulation ;
t| The composer as virtuoso ;
g| Farther along the emulation chain ;
g| The man at arms ;
t| "Pervading imitation" ;
g| An esthetic paradox (or, the paradox of "esthetics") ;
g| Old and young alike pay tribute --
t| Middle and low: the fifteenth-century motet and chanson, early instrumental music, music printing.
g| Hailing Mary ;
g| Personal prayer ;
g| The English keep things high ;
g| The Milanese go lower still ;
g| Fun in church? ;
t| Love songs ;
t| Instrumental music becomes literate at last ;
t| Music becomes a business ;
t| "Songs" without words --
t| Josquin and the humanists: Josquin des Prez in fact and legend, parody masses.
g| What legends do ;
g| A poet born, not made ;
g| Josquin as the spirit of a (later) age ;
g| Recycling the legend back into music ;
g| What Josquin was really like ;
g| A model masterpiece ;
t| Parodies ;
g| Facts and myths --
t| A perfected art: sixteenth-century church music, new instrumental genres.
g| All is known ;
t| The triad comes of age ;
t| "Il eccelentissimo Adriano" and his contemporaries ;
t| Gombert ;
t| Clemens ;
t| Willaert and the art of transition ;
g| The progress of a method ;
g| Academic art ;
g| Spatialized form ;
g| Alternatives to perfection ;
g| Peeking behind the curtain ;
t| Dances old and new --
t| The end of perfection: Palestrina, Byrd, and the final flowering of imitative polyphony.
t| Palestrina and the ecumenical tradition ;
t| Besting the Flemings, or, the last of the tenoristas ;
t| Parody pairs ;
t| Palestrina and the bishops ;
g| Freedom and constraint ;
g| Cryogenics ;
t| Byrd ;
t| Church and state ;
g| The first English cosmopolite ;
g| The music of defiance ;
t| Musical hermeneutics ;
g| The peak (and limit) of stylistic refinement --
t| Commercial and literary music: vernacular song genres in Italy, Germany, and France, Lasso's cosmopolitan career.
t| Music printers and their audience ;
t| Vernacular song genres: Italy ;
t| Germany: the Tenorlied ;
t| The "Parisian" chanson ;
g| Music as description ;
t| Lasso: the cosmopolite supreme ;
t| The literary revolution and the return of the madrigal ;
t| "Madrigalism" in practice ;
g| Paradox and contradiction ;
g| Exterior "nature" and interior "affect" ;
g| Postscript:
t| The English madrigal --
t| Reformations and Counter-Reformations: music of the Lutheran church, Venetian cathedral music.
g| The challenge ;
t| The Lutheran chorale ;
g| The response ;
t| Augenmusik ;
t| "Concerted" music ;
t| The art of orchestration is born ;
t| "Songs" for instruments --
t| Pressure of radical humanism: the "representational" style and the basso continuo, intermedii, Favole in musica.
g| The technical, the esthetic, and the ideological ;
g| Academies ;
g| The representational style ;
t| Intermedii ;
g| The "monodic revolution" ;
t| Madrigals and arias redux ;
t| Favole in musica ;
t| Oratorio.
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g| V. 2.
t| Opera from Monteverdi to Monteverdi: princely and public theaters, Monteverdi's contributions to both.
g| Court and commerce ;
t| From Mantua to Venice ;
g| Poetics and esthetics ;
t| Opera and its politics ;
g| Sex objects, sexed and unsexed ;
g| The quintessential princely spectacle ;
g| The carnival show --
g| Fat times and lean:
t| organ music from Frescobaldi to Scheidt, Schütz's career, oratorio and cantata.
g| Some organists ;
t| The toccata ;
t| Sweelinck: his patrimony and his progeny ;
t| Lutheran adaptations: the chorale partita ;
t| The chorale concerto ;
g| Ruin ;
g| A creative microcosm ;
g| Luxuriance ;
g| Shriveled down to the expressive nub ;
t| Carissimi: oratorio and cantata ;
t| Women in music: a historians' dilemma --
g| Courts resplendent, overthrown, restored:
t| tragédie lyrique from Lully to Rameau, English music in the seventeenth century.
g| Sense and sensuousness ;
t| The politics of patronage ;
g| Drama as court ritual ;
t| Atys, the king's opera ;
t| Art and politics: some caveats ;
t| Jacobean England ;
t| Masque and consort ;
t| Ayres and suites: harmonically determined form ;
g| Distracted times ;
g| Restoration ;
t| Purcell ;
t| Dido and Aeneas and the question of "English opera" ;
g| The making of a classic --
t| Class and classicism: opera seria and its makers.
t| Naples ;
t| Scarlatti ;
t| Neoclassicism ;
t| Metastasio ;
t| Metastasio's musicians ;
t| The fortunes of Artaserse ;
t| Opera seria in (and as) practice ;
t| "Performance practice" --
t| The Italian concerto style and the rise of tonality-driven form: Corelli, Vivaldi, and their German imitators.
t| Standardized genres and tonal practices ;
t| What, exactly, is "tonality"? ;
t| The spread of "tonal form" ;
t| The fugal style ;
t| Handel and "defamiliarization" ;
t| Bach and "dramatized" tonality ;
t| Vivaldi's five hundred ;
t| "Concerti madrigaleschi" --
t| Class of 1685 (I): careers of J. S. Bach and G. F. Handel compared, Bach's instrumental music.
g| Contexts and canons ;
g| Careers and lifestyles ;
g| Roots (domestic) ;
g| Roots (imported) ;
t| Bach's suites ;
g| A close-up ;
t| "Agrémens" and "doubles" ;
t| Stylistic hybrids ;
t| The "Brandenburg" Concertos ;
t| "Obbligato" writing and/or arranging ;
g| What does it all mean? --
t| Class of 1685 (II): Handel's operas and oratorios, Bach's cantatas and Passions, Domenico Scarlatti.
t| Handel on the Strand ;
g| Lofty entertainments ;
t| Messiah ;
t| "Borrowing" ;
t| Back to Bach: the cantatas ;
g| The old style ;
g| The new style ;
t| Musical symbolism, musical idealism ;
g| What music is for ;
t| Bach's "testaments" ;
t| The Bach revival ;
g| Cursed questions ;
t| Scarlatti, at last --
t| The comic style: mid-eighteenth-century stylistic change traced to its sources in the 1720s, Empfindsamkeit, Galanterie, "War of the Buffoons."
g| You can't get there from here ;
t| The younger Bachs ;
g| Sensibility ;
t| The London Bach ;
t| Sociability music ;
g| "Nature" ;
t| Intermission plays ;
t| The "War of the Buffoons" --
t| Enlightenment and Reform: the operas of Piccinni, Gluck, and Mozart.
g| Novels sung on stage ;
g| Noble simplicity ;
g| Another querelle ;
t| What was Enlightenment? ;
t| Mozart ;
t| Idomeneo ;
t| Die Entführung aus dem Serail ;
t| The "Da Ponte" operas ;
t| Late works ;
t| Don Giovanni close up ;
t| Music as a social mirror ;
t| Music and (or as) morality --
t| Instrumental music lifts off: the eighteenth-century symphony, Haydn.
g| Party music goes public ;
t| Concert life is born ;
g| An army of generals ;
t| The Bach sons as "symphonists" ;
t| Haydn ;
g| The perfect career ;
t| The Esterházy years ;
t| Norms and deviations: creating musical meaning ;
t| Sign systems ;
g| Anatomy of a joke ;
t| The London tours ;
g| Addressing throngs ;
t| Variation and development ;
g| More surprises ;
g| The culminating work --
t| The composer's voice: Mozart's piano concertos, his last symphonies, the fantasia as style and as metaphor.
g| Art for art's sake? ;
t| Psychoanalyzing music ;
t| The "symphonic" concerto is born ;
g| Mozart in the marketplace ;
g| Composing and performing ;
g| Performance as self-dramatization ;
g| The tip of the iceberg ;
t| Fantasia as metaphor ;
t| The coming of museum culture --
t| The first Romantics: late eighteenth-century music esthetics, Beethoven's career and his posthumous legend.
g| The beautiful and the sublime ;
t| Classic or Romantic? ;
t| Beethoven and "Beethoven" ;
t| Kampf und Sieg ;
t| The Eroica ;
g| Crisis and reaction ;
t| The "Ninth" ;
g| Inwardness --
t| C-Minor moods: the "struggle and victory" narrative and its relationship to four C-minor works of Beethoven.
g| Devotion and derision ;
g| Transgression ;
t| Morti di Eroi ;
g| Germination and growth ;
g| Letting go ;
g| The music century.
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g| V. 3.
g| Real worlds, and better ones:
t| Beethoven vs. Rossini, Bel canto Romanticism.
t| Deeds of music ;
g| The dialectical antithesis ;
t| The code Rossini ;
g| Imbroglio ;
g| Heart throbs ;
t| "Realism" ;
t| Bel canto ;
g| Utopia --
g| The music trance:
t| Romantic Characterstücke, Schubert's career.
g| The I and the we ;
t| Private music ;
g| Altered consciousness ;
t| Salon culture ;
t| Schubert: a life in art ;
g| Privatizing the public sphere ;
g| Crossing the edge ;
g| Only connect ;
g| New cycles ;
t| B-minor moods ;
g| Constructions of identity --
t| Volkstümlichkeit: the Romantic lied, Mendelssohn's career, the Two Nationalisms.
t| The lied is born ;
g| The discovery of the folk ;
t| Kultur ;
t| Lyrics and narratives ;
t| The lied grows up: Haydn, Mozart, Beethoven ;
t| Schubert and romantic irony ;
g| Representations of consciousness ;
t| Romantic nationalism ;
t| The liturgy of nationhood ;
t| The oratorio reborn ;
t| Mendelssohn and civic nationalism ;
t| Nationalism takes a turn ;
g| Epilogue: two prodigies --
t| Nations, states, and peoples: Romantic opera in Germany (Mozart, Weber), France (Auber, Meyerbeer), and Russia (Glinka).
t| Peasants (Germany).
g| Mr. Natural ;
t| Der Freischütz --
t| History (France).
t| Opera and revolution ;
t| Bourgeois kings ;
g| Grandest of the grand ;
g| Vagaries of reception --
t| Peasants and history (Russia).
g| A newcomer to the tradition --
t| Virtuosos: Paganini and Liszt.
g| Stimulus ;
g| Response ;
t| The concerto transformed ;
g| A divided culture --
t| Critics: Schumann and Berlioz.
t| The public sphere ;
t| What is a philistine? ;
t| Literary music ;
g| How music poses questions ;
g| Anxiety and recoil ;
t| Instrumental drama ;
t| The limits of music ;
t| Varieties of representation ;
t| Discriminating romanticisms --
t| Self and other: Chopin and Gottschalk as exotics, Orientalism.
g| Genius and stranger ;
t| National or universal? ;
t| Or exotic? ;
t| The pinnacle of salon music ;
t| The Chopinesque miniature ;
t| Nationalism as a medium ;
t| Harmonic dissolution ;
t| Playing "romantically" ;
t| The Chopinesque sublime ;
t| Sonata later on ;
t| Nationalism as a message ;
t| America joins in ;
t| Art and democracy ;
t| Stereotyping the other: "Orientalism" ;
g| Sex à la russe ;
g| The other in the self --
t| Midcentury: the New German school, Liszt's symphonic poems, harmonic explorations.
t| Historicism ;
t| The new German school ;
t| The symphony later on ;
g| But what does it really mean? ;
t| The new madrigalism ;
t| Art and truth ;
t| Art for art's sake --
t| Slavs as subjects and citizens: Smetana, Glinka, and Balakirev.
g| Progressive vs. popular ;
g| The nationalist compact ;
g| Fluidity ;
t| Folk and nation ;
g| How the acorn took root ;
t| National becomes nationalist ;
t| The politics of interpretation --
t| Deeds of music made visible (class of 1813, I): Wagner.
g| The problem ;
t| Art and revolution ;
g| The artwork of the future, modeled (as always) on the imagined past ;
t| From theory into practice: The Ring ;
t| Form and content ;
g| The texture of tenseless time ;
t| The sea of harmony ;
g| Desire and how to channel it ;
g| The ultimate experience ;
t| How far can you stretch a dominant? ;
g| When resolution comes ;
g| The problem revisited --
t| Artist, politician, farmer (class of 1813, II): Verdi.
g| Spooked ;
g| The galley years ;
g| The popular style ;
t| Tragicomedy ;
t| Opera as modern drama ;
g| A job becomes a calling ;
g| Compression and expansion ;
t| Comedization --
g| Cutting things down to size:
t| Russian realism (Musorgsky [Mussorgsky], Chaikovsky [Tchaikovsky]), opéra lyrique, operetta, Verismo.
g| Going too far ;
t| Art and autocracy ;
g| Stalemate and subversion ;
g| Crisis ;
g| Codes ;
t| Lyric drama ;
t| Satyr plays ;
t| Operetta and its discontents ;
t| Verismo ;
g| Truth or sadism? --
t| The return of the symphony: Brahms.
g| The dry decades ;
g| Museum culture ;
g| New paths ;
t| Three "Firsts" ;
g| Struggle (with whom?) ;
t| A choral (and a nationalistic) interlude ;
g| Inventing tradition ;
g| Victory through critique ;
g| Reconciliation and backlash ;
t| Brahminism ;
t| Developing variation --
t| The symphony goes (inter)national: Bruckner, Dvořák, Beach, Franck, Saint-Saëns, Borodin, Chaikovsky.
t| Germany recedes ;
t| Symphony as sacrament ;
t| A Bohemian prescription for America ;
t| An American response ;
t| War brings it to France ;
t| Symphonist as virtuoso ;
g| The epic style ;
t| Symphonies of suffering.
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g| V. 4.
g| Reaching (for) limits:
t| modernism, Mahler, Strauss, Schoenberg.
t| Modernism ;
t| Maximalism ;
t| Mahler: maximalizing the symphony ;
g| Is there or isn't there? (Not even the composer knows for sure) ;
g| High tension composing ;
t| Half-steps over fifths ;
t| Lyrisches intermezzo ;
t| Folklore for city folk ;
g| What then? ;
t| Decadence ;
t| Strauss: Maximalizing opera ;
g| Consummation ;
g| Another madwoman ;
g| Hysteria --
g| Getting rid of glue:
t| Satie, Debussy, Fauré, Ravel, Lili Boulanger.
t| Denaturing desire ;
g| Halfsteplessness ;
t| Impressionism ;
t| Symbolism ;
t| Mélodie ;
t| "Essentially" (and intolerantly) French ;
t| The exoticized self ;
g| The sensual surface ;
t| Russian fantasy ;
g| Female competition --
t| Aristocratic maximalism: ballet from sixteenth-century France to nineteenth-century Russia, Stravinsky.
g| A missing genre ;
t| Ballet d'action ;
g| Off to Russia ;
t| Chaikovsky's [Tchaikovsky's] ballets ;
t| Ballet finds its theorist ;
g| Back to France ;
t| Stravinsky ;
t| Petrushka ;
t| The Rite of Spring ;
g| The ne plus ultra ;
g| The reaction --
t| Extinguishing the "Petty 'I'" (Transcendentalism, I): Scriabin, Messiaen.
g| Maximalism reaches the max ;
g| Rush-to-the-patent-office modernism ;
g| From expression to revelation ;
g| Extinguishing the "I" ;
g| Approaching the ultimate ;
g| Ecstasy, and after ;
t| Atonality? ;
g| The final burst ;
g| A maximalist against the tide ;
g| "The charm of impossibilities" ;
g| So old it's new ;
t| The summa summarum --
t| Containing multitudes (Transcendentalism, II): Ives, Ruggles, Crawford, microtonality.
t| Maximalism, American style ;
t| Two American careers ;
g| Sexual, and stylistic, politics ;
g| Terms of reception ;
g| Manner and substance ;
t| Nostalgia ;
g| Reaching, and transcending, the limit ;
g| Accepting boundaries ;
g| More patent-office modernism ;
t| Transcendentalism vs. futurism --
t| Inner occurrences (Transcendentalism, III): Schoenberg, Webern, and expressionism, atonality.
g| Rejecting success ;
t| Expression becomes an "ism" ;
t| Art and the unconscious ;
t| "Emancipation of dissonance" ;
t| Theory and practice ;
t| Atonality? ;
t| "Contextuality" ;
t| Tonal or atonal? ;
t| A little "set theory" ;
t| Grundgestalt ;
t| Psychological realism ;
t| Atonal triads ;
g| Crossing the cusp ;
t| Musical space ;
t| "Brahminism" revisited ;
g| Maxing out ;
g| At the opposite extreme ;
t| The ivory tower --
g| Epilogue:
t| how myths become history.
t| Schoenberg's Brahms ;
t| Ontogeny becomes phylogeny ;
g| "Motivicization" in practice --
g| Socially validated maximalism:
t| Bartók, Janáček.
t| What is Hungarian? ;
g| A change of course ;
g| A precarious symbiosis ;
g| A bit of theory ;
t| Symmetrical fugue, symmetrical sonata ;
t| A new tonal system? ;
g| Retreat? ;
t| The oldest twentieth-century composer? ;
g| Speech-tunelets ;
t| A musico-dramatic laboratory ;
g| Research vs. communication --
t| Pathos is banned: Stravinsky and neoclassicism.
g| The "real" twentieth century begins ;
g| Pastiche as metaphor ;
g| Cracking (jokes) under stress ;
g| Breaking with tradition ;
t| The end of the "long nineteenth century" ;
g| Vital vs. geometrical ;
g| Some more troubling politics ;
g| And now the music ;
g| Plus some famous words about it --
t| Lost, or rejected, illusions: Prokofieff [Prokofiev], Satie again, Berg's Wozzeck, Neue Sachlichkeit, Zeitoper, Gebrauchsmusik (Hindemith, Krenek, Weill), Korngold, Rachmaninoff [Rachmaninov], and a new stile antico.
g| Breaching the fourth wall ;
g| Art as plaything ;
g| A new attitude toward the "classics"? ;
g| "How" vs. "what" ;
g| Putting things "in quotes" ;
g| Irony and social reality ;
t| "Americanism" and media technology ;
t| Music for political action ;
g| Righteous renunciation, or what? ;
t| New-morality plays ;
t| The death of opera? ;
t| From Vienna to Hollywood ;
t| A new stile antico? --
t| The cult of the commonplace: Satie, the French "Six," and surrealism, Thomson and the "lost generation."
t| The anti-Petrushka ;
g| "Lifestyle modernism" ;
g| Nakedness ;
t| Gender bending ;
t| From subject to style: Surrealist "classicism" ;
g| Groups ;
g| Finding oneself --
t| In search of the "real" America: European "jazz", Gershwin, Copland, the American "Symphonists."
t| Americans in Paris, Parisians in America ;
g| Transgression ;
g| Redemption ;
t| "Sociostylistics" ;
t| The great American Symphony ;
g| Ferment on the left ;
t| "Twentieth-century Americanism" ;
t| Prairie neonationalism --
g| In search of utopia:
t| Schoenberg, Webern, and twelve-tone technique.
g| Progress vs. restoration ;
g| Discovery or invention? ;
t| Nomos (the law) ;
g| Giving music an axiomatic basis ;
g| Irony claims its due ;
t| Back again to Bach ;
g| Consolidation ;
g| Spread ;
g| Clarification ;
g| Epitome --
t| Music and totalitarian society: Casella and Respighi (Fascist Italy), Orff, Hindemith, Hartmann (Nazi Germany), Prokofieff [Prokofiev] and Shostakovich (Soviet Russia).
g| Mass politics ;
t| Music and music-making in the new Italy ;
g| Degeneracy ;
g| Youth culture ;
g| Varieties of emigration ;
g| Shades of gray ;
t| Socialist realism and the Soviet avant-garde ;
g| Protagonist or victim? ;
g| Readings
t| [Shostakovich Symphony No. 5].
505
0
0
g| V. 5.
g| Starting from scratch:
t| music in the aftermath of World War II, Zhdanovshchina, Darmstadt.
g| A new age ;
t| Cold war ;
g| Denunciation and contrition ;
g| Breaking ranks ;
g| Zero hour ;
g| Polarization ;
t| Darmstadt ;
g| Fixations ;
t| "Total serialism" ;
g| Disquieting questions ;
g| Disquieting answers ;
g| Solace in ritual ;
g| Poster boy --
t| Indeterminacy: Cage and the "New York school."
g| Means and ends ;
g| Whose liberation? ;
g| Ne plus ultra (going as far as you can go) ;
g| Purification and its discontents ;
g| Permission ;
t| Music and politics revisited ;
g| Internalized conflict ;
g| Conflicts denied ;
t| New notations ;
g| Preserving the sacrosanct --
g| The apex:
t| Babbitt and Cold War serialism.
g| Conversions ;
t| "Mainstream" dodecaphony ;
g| The grand prize ;
g| The path to the new/old music ;
g| Requiem for a heavyweight ;
t| Academicism, American style ;
t| An integrated musical time/space ;
g| Full realization ;
g| Another cold war ;
g| Logical positivism ;
g| The new patronage and its fruits ;
t| Elites and their discontents ;
g| Life within the enclave ;
g| But can you hear it? ;
g| Ultimate realization or reductio ad absurdum? --
g| The third revolution:
t| music and electronic media, Varèse's career.
t| Tape ;
g| An old dream come true ;
t| Generating synthetic sounds ;
g| A maximalist out of season ;
g| "Real" vs. "pure" ;
g| The new technology spreads ;
g| The big science phase ;
g| A happy ending ;
g| Big questions reopened ;
g| Reciprocity ;
g| Renaissance or co-option? --
g| Standoff (I):
t| music in society, Britten.
g| History or society? ;
g| Some facts and figures ;
g| A modern hero ;
t| Social themes and leitmotives ;
g| Allegory (but of what?) ;
t| Exotic/erotic ;
g| To serve by challenging --
g| Standoff (II):
t| music in history, Carter.
g| Explain nothing ;
g| From populism to problem-solving: an American career ;
t| Theory: The time screen ;
t| Practice: the First Quartet ;
t| Reception ;
g| A wholly disinterested art? ;
g| At the pinnacle --
t| The sixties:
t| Changing patterns of consumption and the challenge of pop.
g| What were they? ;
g| The music of youth ;
t| The British "invasion" ;
g| Defection ;
t| Rock'n'roll becomes rock ;
t| Fusion ;
g| Integration without prejudice? ;
g| Radical chic --
t| A harmonious avant-garde?: minimalism, Young, Riley, Reich, Glass, their European emulators.
g| New sites of innovation ;
g| Legendary beginnings ;
g| Music as spiritual discipline ;
g| A contradiction in terms? ;
t| "Classical" minimalism ;
g| Secrets of structure ;
g| "All music is folk music" ;
t| A postmodernist masterwork? ;
g| "Crossover": who's on top? ;
t| Disco at the Met ;
g| Americanization ;
g| Closing the spiritual circle --
g| After everything:
t| Postmodernism: Rochberg, Crumb, Lerdahl, Schnittke.
t| Postmodernism? ;
g| Its beginnings for music ;
g| A parenthesis on collage ;
g| Collage as theater ;
t| Apostasy ;
t| Esthetics of pastiche ;
g| Accessibility ;
g| Cognitive constraints? ;
g| Where to go from here? ;
g| One proposal ;
t| The end of Soviet music ;
t| Polystylistics --
g| Millennium's end:
t| the advent of postliteracy, Partch, Monk, Anderson, Zorn, new patterns of patronage.
g| Grand old men ;
g| Terminal complexity ;
g| "Big science" eclipsed ;
g| Twentieth-century "orality" ;
g| Hobo origins ;
g| Imaginary folklore ;
t| A feminine redoubt ;
t| Music and computers ;
g| The elite phase ;
t| Spectralism ;
t| "Then along came MIDI!" ;
g| First fruits ;
t| Modernists in postmodernist clothing? ;
g| A glimpse of the future? ;
g| Back to nature ;
g| Paying the piper, calling the tune ;
g| A new topicality ;
g| A new spirituality.
505
0
a| V. 6. Chronology -- Further reading: a checklist of books in English -- List of musical examples in order of appearance -- List of musical examples by composer -- Master index.
520
a| Intends to illuminate, through a representative sampling of masterworks, those themes, styles, and currents that give shape and direction to each musical age. Taking a critical perspective that challenges the wisdom of the field, the author sets the details of music--the chronological sweep of figures, works, and musical ideas--within the larger context of world affairs and cultural history.
650
0
a| Music
x| History and criticism.
=| ^A18818
856
4
0
z| Full text available from Oxford History of Western Music
u| https://go.openathens.net/redirector/ecu.edu?url=https%3A%2F%2Fwww.oxfordwesternmusic.com
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a| ML160 .T18 2005 V.1
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