Collected Essays on Modern and Classical Music
This collection of published and unpublished essays from the 1990s ranges from analyses of classical music to witty arguments about the merits and demerits of modernism and postmodernism to philosophical considerations of time, tempo, and performance. Rather than taking a technical approach accessible only to composers and musicologists, George Edwards addresses a wide audience of musically cultivated readers. His essays include philosophical and critical thoughts on music, as well as broader discussions of Marxism, psychoanalytic theory, and semiotics. Some of the essays were first published in literary journals, and all of them approach their subjects through an array of cultural references buttressed with precise musical insights. Collected Essays on Modern and Classical Music comprises three sections: essays on modern music, essays on postmodern musicology and literary theory, and analytical studies of Haydn and Schubert. Whether dissecting critical assumptions, discussing performance practices, or explicating the process of musical composition, Edwards's lively writing is never less than bracing.
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COMPOSITION AS RESEARCH
THE PLEASURE OF ITS BEING OVER A VIEW OF CONTEMPORARY MUSIC
A CONVERSATION ABOUT NEW MUSIC
CASTING AWAY THE YOKE or HOW TO BE JUST A LITTLE AHEAD OF YOUR TIME
INVOLUNTARY AFFINITIES NEW MUSIC AND PERFORMANCE IN THE 20TH CENTURY
MUSIC AND POSTMODERNISM
TAKING THE CULT OUT OF CULTURE
MUSIC AND SEMIOTICS
20th century academic Agawu American composers atonal authentic performances Babbitt Bach Bakhtin bars bass Beethoven beginning cadential Charles Rosen chord claim classical music closure complete composition contemporary music criticism culture dialogic disjunct dominant Edwards equivalent example exposition exposition's Forte's fourth movement Fred Lerdahl full cadence half cadence harmonic Haydn hinge historical hypermeasure idea interpretation last movement lead-in Lerdahl listener main theme major Marxism material measures Milton Babbitt modernism movement of Symphony Mozart's musicology Nattiez octave octave equivalence opening orchestras passages pedal phrase piece pitch pitch-class play political postmodern postmodern music problems recapitulation regard relationships resolved ritornello Rockwell Roger Sessions Rosen scale degree Schenker Schenkerian Schoenberg Schubert's second group second movement seems sense serialism social sonata form spatial stasis Stravinsky String Quartet structure style submediant suggest Symphony temporal texture thematic theme-group theory tion tonal tonic Tovey tradition transition twelve-tone unity writing York