Essential Cowell: Selected Writings on MusicForeword Magazine "Book of the Year" 2002 Gold Medalion This volume presents for the first time a generous selection from the more than 200 essays and articles written by one of the most original American composers and musical theorists of the twentieth century. There are articles on harmony, melody, notation and music history; essays on vocal innovation, folk music, and the intersection of music with other arts; reviews of concerts and recordings by contemporaries; notes on several of his own works, and several pieces on his life and experiences as a composer. Henry Cowell may be best known as a creator of "tone cluster" compositions, which he began writing while in his early teens, but his influence has been far broader and much deeper. As founder in 1925 of the New Music Society, he became a concert impresario for works by, among others, Carl Ruggles, Arnold Schoenberg, Charles Ives and Leo Ornstein; and publisher from 1927 to 1958 of New Music: A Quarterly of Musical Compositions. His many students included George Gershwin, John Cage, and Lou Harrison, but his interests extended beyond western classical traditions, and his radio program, "Music of the World's Peoples," introduced a large audience to world music long before it was fashionable. Just as Cowell's groundbreaking book of 1930, New Musical Resources, continues to inspire successive generations of composers, Essential Cowell is key to understanding the origins and expanding dimensions of contemporary music. |
Contents
Preface by Kyle Gann | 7 |
Introduction by Dick Higgins | 13 |
Playing Concerts in Moscow | 35 |
Music Is My Weapon | 47 |
John J Becker | 85 |
Amadeo Roldan and Alejandro Caturla | 91 |
Nicholas Slonimsky | 105 |
Ferruccio Busoni | 144 |
Folk Music | 170 |
Music of the Worlds Peoples | 176 |
Vocal Innovators of Central Europe | 211 |
Relating Music and Concert Dance | 223 |
New Sounds in Music for the Dance | 232 |
THEORY AND MUSIC HISTORY | 271 |
SELECTED BIBLIOGRAPHY | 321 |
Copyright | |
The Scientific Approach to NonEuropean Music | 163 |