简介
Summary:
Publisher Summary 1
The 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 Early Twentieth Century , the fourth volume in Richard Taruskin's history, looks at the first half of the twentieth century, from the beginnings of Modernism in the last decade of the nineteenth century right up to the end of World War II. Taruskin discusses modernism in Germany and France as reflected in the work of Mahler, Strauss, Satie, and Debussy, the modern ballets of Stravinsky, the use of twelve-tone technique in the years following World War I, the music of Charles Ives, the influence of peasant songs on Bela Bartok, Stravinsky's neo-classical phase and the real beginnings of 20th-century music, the vision of America as seen in the works of such composers as W.C. Handy, George Gershwin, and Virgil Thomson, and the impact of totalitarianism on the works of a range of musicians from Toscanini to Shostakovich
目录
Table Of Contents:
Introduction x
Preface xx
Reaching (for) Limits 1(58)
Modernism: Mahler, Strauss, Schoenberg
Modernism
Maximalism
Mahler: Maximalizing the symphony
Is there or isn't there? (Not even the composer knows for sure)
High tension composing
Half-steps over fifths
Lyrisches intermezzo
Folklore for city folk
What then?
Decadence
Strauss: Maximalizing opera
Consummation
Another madwoman
Hysteria
Getting Rid of Glue 59(72)
Satie, Debussy, Faure, Ravel, Lili Boulanger
Denaturing desire
Halfsteplessness
Impressionism
Symbolism
Melodie
``Essentially'' (and intolerantly) French
The exoticized self
The sensual surface
Russian fantasy
Female competition
Aristocratic Maximalism 131(60)
Ballet from Sixteenth-Century France to Nineteenth-Century Russia; Stravinsky
A missing genre
Ballet d'action
Off to Russia
Chaikovsky's ballets
Ballet find its theorist
Back to France
Stravinsky
Petrushka
The Rite of Spring
The ne plus ultra
The reaction
Extinguishing the ``Petty `I''' (Transcendentalism, I) 191(52)
Scriabin; Messiaen
Maximalism reaches the max
Rush-to-the-patent-office modernism
From expression to revelation
Extinguishing the ``I''
Approaching the ultimate
Ecstasy, and after
Atonality?
The final burst
A maximalist against the tide
``The charm of impossibilities''
So old it' new
The summa summarum
Containing Multitudes (Transcendentalism, II) 243(60)
Ives, Ruggles, Crawford; Microtonality
Maximalism, American style
Two American careers
Sexual---and stylistic---politics
Terms of reception
Manner and substance
Nostalgia
Reaching---and transcending---the limit
Accepting boundaries
More patent-office modernism
Transcendentalism vs. Futurism
Inner Occurrences (Transcendentalism, III) 303(62)
Schoenberg, Webern, and Expressionism; Atonality
Rejecting success
Expression becomes an ``ism''
Art and the unconscious
``Emancipation of dissonance''
Theory and practice
Atonality?
``Contextuality''
Tonal or atonal?
A little ``set theory''
Grundgestalt
Psychological realism
Atonal triads
Crossing the cusp
Musical space
``Brahminism'' revisited
Maxing out
At the opposite extreme
The ivory tower
Epilogue: How Myths Become History
Schoenberg's Brahms
Ontogeny becomes phylogeny
``Motivicization'' in practice
Socially Validated Maximalism 365(82)
Bartok, Janacek
What is Hungarian?
A change of course
A precarious symbiosis
A bit of theory
Symmetrical fugue, symmetrical sonata
A new tonal system?
Retreat?
The oldest twentieth-century composer?
Speech-tunelets
A musico-dramatic laboratory
Research vs. communication
Pathos Is Banned 447(48)
Stravinsky and Neoclassicism
The ``real'' twentieth century begins
Pastiche as metaphor
Cracking (jokes) under stress
Breaking with tradition
The end of the ``long nineteenth century''
Vital vs. geometrical
Some more troubling politics
And now the music
Plus some famous words about it
Lost---or Rejected---Illusions 495(66)
Prokofieff; Satie Again; Berg's Wozzeck; Neue Sachlichkeit, Zeitoper, Gebrauchsmusik (Hindemith, Krenek, Weill); Korngold, Rachmaninoff, and a New Stile Antico
Breaching the fourth wall
Art as plaything
A new attitude toward the ``classics''?
``How'' vs. ``what''
Putting things ``in quotes''
Irony and social reality
``Americanism'' and media technology
Music for political action
Righteous renunciation, or what?
New-morality plays
The death of opera?
From Vienna to Hollywood
A new stile antico?
The Cult of the Commonplace 561(38)
Satie, the French ``Six,'' and Surrealism; Thomson and the ``Lost Generation''
The Anti-Petruskha
``Lifestyle modernism''
Nakedness
Gender bending
From subject to style: Surrealist ``classicism''
Groups
Finding oneself
In Search of the ``Real'' America 599(76)
European ``Jazz''; Gershwin; Copland; the American ``Symphonists''
Americans in Paris, Parisians in America
Transgression
Redemption
``Sociostylistics''
The Great American Symphony
Ferment on the left
``Twentieth-century Americanism''
Prairie neonationalism
In Search of Utopia 675(68)
Schoenberg, Webern, and Twelve-Tone Technique
Progress vs. restoration
Discovery or invention?
Nomos (the law)
Giging music an axiomatic basis
Irony claims its due
Back again to Bach
Consolidation
Spread
Clarification
Epitome
Music and Totalitarian Society 743(54)
Casella and Respighi (Fascist Italy); Orff, Hindemith, Hartmann (Nazi Germany); Prokofieff and Shostakovich (Soviet Russia)
Mass politics
Music and music-making in the new Italy
Degeneracy
Youth culture
Varieties of emigration
Shades of gray
Socialist realism and the Soviet avant-garde
Protagonist or victim?
Readings
Notes 797(25)
Art Credits 822(4)
Further Reading 826(15)
Index 841
Introduction x
Preface xx
Reaching (for) Limits 1(58)
Modernism: Mahler, Strauss, Schoenberg
Modernism
Maximalism
Mahler: Maximalizing the symphony
Is there or isn't there? (Not even the composer knows for sure)
High tension composing
Half-steps over fifths
Lyrisches intermezzo
Folklore for city folk
What then?
Decadence
Strauss: Maximalizing opera
Consummation
Another madwoman
Hysteria
Getting Rid of Glue 59(72)
Satie, Debussy, Faure, Ravel, Lili Boulanger
Denaturing desire
Halfsteplessness
Impressionism
Symbolism
Melodie
``Essentially'' (and intolerantly) French
The exoticized self
The sensual surface
Russian fantasy
Female competition
Aristocratic Maximalism 131(60)
Ballet from Sixteenth-Century France to Nineteenth-Century Russia; Stravinsky
A missing genre
Ballet d'action
Off to Russia
Chaikovsky's ballets
Ballet find its theorist
Back to France
Stravinsky
Petrushka
The Rite of Spring
The ne plus ultra
The reaction
Extinguishing the ``Petty `I''' (Transcendentalism, I) 191(52)
Scriabin; Messiaen
Maximalism reaches the max
Rush-to-the-patent-office modernism
From expression to revelation
Extinguishing the ``I''
Approaching the ultimate
Ecstasy, and after
Atonality?
The final burst
A maximalist against the tide
``The charm of impossibilities''
So old it' new
The summa summarum
Containing Multitudes (Transcendentalism, II) 243(60)
Ives, Ruggles, Crawford; Microtonality
Maximalism, American style
Two American careers
Sexual---and stylistic---politics
Terms of reception
Manner and substance
Nostalgia
Reaching---and transcending---the limit
Accepting boundaries
More patent-office modernism
Transcendentalism vs. Futurism
Inner Occurrences (Transcendentalism, III) 303(62)
Schoenberg, Webern, and Expressionism; Atonality
Rejecting success
Expression becomes an ``ism''
Art and the unconscious
``Emancipation of dissonance''
Theory and practice
Atonality?
``Contextuality''
Tonal or atonal?
A little ``set theory''
Grundgestalt
Psychological realism
Atonal triads
Crossing the cusp
Musical space
``Brahminism'' revisited
Maxing out
At the opposite extreme
The ivory tower
Epilogue: How Myths Become History
Schoenberg's Brahms
Ontogeny becomes phylogeny
``Motivicization'' in practice
Socially Validated Maximalism 365(82)
Bartok, Janacek
What is Hungarian?
A change of course
A precarious symbiosis
A bit of theory
Symmetrical fugue, symmetrical sonata
A new tonal system?
Retreat?
The oldest twentieth-century composer?
Speech-tunelets
A musico-dramatic laboratory
Research vs. communication
Pathos Is Banned 447(48)
Stravinsky and Neoclassicism
The ``real'' twentieth century begins
Pastiche as metaphor
Cracking (jokes) under stress
Breaking with tradition
The end of the ``long nineteenth century''
Vital vs. geometrical
Some more troubling politics
And now the music
Plus some famous words about it
Lost---or Rejected---Illusions 495(66)
Prokofieff; Satie Again; Berg's Wozzeck; Neue Sachlichkeit, Zeitoper, Gebrauchsmusik (Hindemith, Krenek, Weill); Korngold, Rachmaninoff, and a New Stile Antico
Breaching the fourth wall
Art as plaything
A new attitude toward the ``classics''?
``How'' vs. ``what''
Putting things ``in quotes''
Irony and social reality
``Americanism'' and media technology
Music for political action
Righteous renunciation, or what?
New-morality plays
The death of opera?
From Vienna to Hollywood
A new stile antico?
The Cult of the Commonplace 561(38)
Satie, the French ``Six,'' and Surrealism; Thomson and the ``Lost Generation''
The Anti-Petruskha
``Lifestyle modernism''
Nakedness
Gender bending
From subject to style: Surrealist ``classicism''
Groups
Finding oneself
In Search of the ``Real'' America 599(76)
European ``Jazz''; Gershwin; Copland; the American ``Symphonists''
Americans in Paris, Parisians in America
Transgression
Redemption
``Sociostylistics''
The Great American Symphony
Ferment on the left
``Twentieth-century Americanism''
Prairie neonationalism
In Search of Utopia 675(68)
Schoenberg, Webern, and Twelve-Tone Technique
Progress vs. restoration
Discovery or invention?
Nomos (the law)
Giging music an axiomatic basis
Irony claims its due
Back again to Bach
Consolidation
Spread
Clarification
Epitome
Music and Totalitarian Society 743(54)
Casella and Respighi (Fascist Italy); Orff, Hindemith, Hartmann (Nazi Germany); Prokofieff and Shostakovich (Soviet Russia)
Mass politics
Music and music-making in the new Italy
Degeneracy
Youth culture
Varieties of emigration
Shades of gray
Socialist realism and the Soviet avant-garde
Protagonist or victim?
Readings
Notes 797(25)
Art Credits 822(4)
Further Reading 826(15)
Index 841
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