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A History of Twentieth-Century Music in a Theoretic-Analytical Context, by Elliott Antokoletz
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A History of Twentieth-Century Music in a Theoretic-Analytical Context is an integrated account of the genres and concepts of twentieth-century art music, organized topically according to aesthetic, stylistic, technical, and geographic categories, and set within the larger political, social, economic, and cultural framework. While the organization is topical, it is historical within that framework.
Musical issues interwoven with political, cultural, and social conditions have had a significant impact on the course of twentieth-century musical tendencies and styles. The goal of this book is to provide a theoretic-analytical basis that will appeal to those instructors who want to incorporate into student learning an analysis of the musical works that have reflected cultural influences on the major musical phenomena of the twentieth century. Focusing on the wide variety of theoretical issues spawned by twentieth-century music, A History of Twentieth-Century Music in a Theoretic-Analytical Context reflects the theoretical/analytical essence of musical structure and design.
- Sales Rank: #2780249 in Books
- Published on: 2013-09-11
- Original language: English
- Number of items: 1
- Dimensions: 11.00" h x 1.00" w x 8.70" l, 2.75 pounds
- Binding: Hardcover
- 528 pages
- Brand Name: Baker and Taylor Mfg#: 9780415881876
- Shipping Weight: 2.95 lbs
- Manufacturer:
- Genre:
- All music products are properly licensed and guaranteed authentic.
Review
"With this book, Antokoletz (Univ. of Texas, Austin) aims to provide a more in-depth application of musical analysis to 20th-century music than afforded by other current music histories...Advanced students of music history or performance will benefit from the book...Summing Up: Recommended." - M. Dineen, University of Ottawa, School of Music, CHOICE, April 2014
About the Author
Elliott Antokoletz is Professor of Musicology at the Sarah and Ernest Butler School of Music at the University of Texas at Austin.
Most helpful customer reviews
3 of 3 people found the following review helpful.
A Drill-Deep History of Twentieth Century Compositional Practice
By frankp93
I received a free item to review.
This isn’t a book of anecdotes about the creation and historical context of famous twentieth century pieces, with brief, surface analyses inserted to satisfy a (presumed thin) sliver of theory-savvy readers. It’s a technically rigorous book for composers, analytical musicologists, and musicians of all stripes who already possess a solid theoretical background and keen interest in twentieth century compositional practice in many of its most well-known and influential forms.
Any of these chapters could have corresponding shelves of specialized, dedicated titles focusing on specific techniques and esthetic viewpoints. But what Antokoletz does here is, I think, unique and refreshing. He’s assembled a range of rigorous analyses worthy of peer-reviewed journals and textbooks and housed and clothed them in just enough historical context that’s roughly-but-not-strictly chronological.
If you’ve studied the specialized works of Perle, Babbitt, Forte, Hindemith, Boulez, Xenakis – not to mention Antokoletz’s own work on Bartok, you’ll find this book doesn’t simply illustrate practical application of theory, but draws meaningful connections, trends, retrogressions and side-journeys along various paths-more-and-less-taken. Antokoletz does a fine job stitching together threads and reconciling ideas you may have thought irreconcilable.
On the other hand, if your exposure to twentieth century music theory lags behind your curiosity and listening interest (not necessarily a bad thing), this book may be too steep a jumping off point. I would recommend as a prerequisite – or perhaps as parallel study - Antokoletz and Paolo Susanni’s ‘Music and Twentieth Century Tonality’. That book is lighter on history per se and delves even more deeply into the evolution of late romantic tonality into its reorganized forms of interval cycles and extended modality. Ironically, I found that book to be easier going and excellent prep for this one.
Much, but not all, of the historical ground covered in ‘A History of Twentieth-Century Music in a Theoretic-Analytical Context’ will be familiar to readers, especially composers, who’ve studied twentieth century compositional technique. But Antokoletz seems determined to step outside the canon (or at least broaden the fold) and I especially enjoyed the chapters on Latin American, Asian, and Scandinavian composers – including relatively recent, lesser-known names and works I’m now eager to seek out.
Much of the analysis is highly condensed, focusing on specific technical aspects of the score in question. This is the kind of reading best approached with the complete score at hand (a recording won’t hurt either). Some of the more substantial analytical topics in the book include:
Symmetrical root movement in Strauss' Elektra and Schoenberg’s Gurrelieder
Atonal Organization in Schoenberg’s piano pieces Op. 11 and Op. 23, Webern’s Fifth Bagatelle Op 9, and Berg’s Wozzeck.
Formal Twelve-Tone Method in Schoenberg’s Op. 33, Webern’s Cantata No. 1, Berg’s Lyric Suite
Reactions to Viennese ‘Ultra-Chromaticism’ and new Nationalistic styles in Debussy’s ‘Pelleas et Melisande’ and Stravinsky’s ‘Rite of Spring’, as well as Scriabin’s Prelude for Piano Op 74, No.3.
It wouldn’t be an Antokoletz book without substantial material on Bartok, and the author doesn’t disappoint:”New Hungarian Art Music” and Bartok’s move towards modernism - including possibly the longest analysis in the book, that of the Fourth String Quartet.
Identity and Cosmopolitanism as expressed by Scandinavian composers, including Sibelius Fourth Symphony.
I especially enjoyed Antokoletz’s take on the Americans, including such ‘Ultra-Moderns’ such as Cowell, Crawford-Seeger and Ruggles. It was bit disappointing however that he saved the most substantial analysis for Copland’s Appalachian Spring, a great work but comparatively tame among the group.
Stravinsky returns in a chapter on Neoclassicism and the composer’s years in Switzerland and Paris. Symphony of Psalms is the analytical focus.
Hindemith is represented in the chapter on the ‘New Objectivity’ and, having studied his composition books myself, I found Antokoletz’s take on Hindemith’s combination tones, intervals, and chord groups sympathetic, insightful, and clarifying.
The Fifth Symphonies of Prokofiev and Shostakovich round out the chapter on Soviet Composers and Socialist Realism.
Varese and Ionization is the center piece of a chapter on ‘New Sonorities Based on Density, Color, Noise’. This is often a fork in the road in survey books where the author reveals his or her true leanings and just how open their own viewpoint is. Antokoletz steers a steady course – perhaps unsurprisingly he calls upon Bartok’s Music for Strings, Percussion, and Celesta as a transition/connector to Varese and Carter, but it works.
Perle’s ‘Twelve Tone Tonality’ gets a chapter that not only fleshes out the theory in Perle’s famous text but illustrates applications in a number of early and later pieces in the composer’s career.
Electronic and early tape music of Stockhausen and Davidovsky, along with the seminal ideas of Varese and Schaeffer are discussed and illustrated with several ‘graphical’ scores.
The New York School and the move towards more aleatoric and open forms, as well as early minimalism is given a substantial chapter. The technical analyses tend to take a back seat to discussions of ideas and intentions – as much of that music remains better known to this day for its concepts than its notes and scores.
Back to Europe and pan-nationalistic trends including Britten and a substantial analyses of the War Requiem.
And again to America for its own nationalist trends from the post-Depression/WPA/post-war era up to the near present: Adams, Corigliano, Zwilich.
The two concluding chapters focus on Latin American and Asian composers respectively.
It’s quite an accomplishment that the analyses Antokoletz provides are as deep and substantial as they are, considering the vast span of compositional practice dealt with here. The copious bibliographies and notes that conclude each chapter make convenient and capable study guides for those looking for even greater depth and to perhaps fill in gaps in newfound areas of interests - another real the strength of the book and one I plan to make good use of.
Bottom Line: ‘A History of Twentieth-Century Music in a Theoretic-Analytical Context’ is not a book simply to read once, it’s a book to commit to and it promises to reward many hours spent working though the analytical riches it serves up. Happy feasting.
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