Music in the Late Twentieth Century: The Oxford History of Western MusicThe 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. |
Contents
1 | |
Chapter 2 Indeterminacy | 55 |
Chapter 3 The Apex | 103 |
Chapter 4 The Third Revolution | 175 |
Chapter 5 Standoff I | 221 |
Chapter 6 Standoff II | 261 |
Chapter 7 The Sixties | 307 |
Chapter 8 A Harmonious AvantGarde? | 351 |
Chapter 9 After Everything | 411 |
Chapter 10 Millenniums End | 473 |
529 | |
Art Credits | 555 |
559 | |
569 | |
Other editions - View all
Music in the Late Twentieth Century: The Oxford History of Western Music Richard Taruskin Limited preview - 2006 |
The Oxford History of Western Music: Music in the Late Twentieth Century Richard Taruskin No preview available - 2009 |
Common terms and phrases
Aaron Copland American artists Arvo Pärt audience avant-garde Beatles became Benjamin Britten Berio Boulez Britten Cage Cage’s called cello chapter chord chromatic chromatic scale collage composer composer’s composition concert contemporary Copland creative critic culture Darmstadt duration electronic music elite Elliott Carter ensemble esthetic harmony hexachords Ibid Igor Stravinsky instruments inversion John Cage Krenek Lerdahl Ligeti listeners medium Messiaen Milton Babbitt minimalist modern modernist movement musicians musicology notation ofhis ofits ofMusic ofthe one’s opera orchestra Pärt Partch percussion performance Peter Grimes piano piece Pierre Boulez pitch played political postmodernism produced pulse quoted recording Reich rhythmic Rochberg rock Schoenberg score semitones serial social solo song sounds Soviet Steve Reich Stockhausen Stravinsky String Quartet structure studio style Symphony tape technique tempo texture theme theory theremin timbre tonal traditional twelve-tone twentieth century University Var`ese violin voice words wrote York