Serial Music, Serial Aesthetics
Compositional Theory in Post-War Europe
Seiten
2005
Cambridge University Press (Verlag)
978-0-521-61992-9 (ISBN)
Cambridge University Press (Verlag)
978-0-521-61992-9 (ISBN)
Serial music was one of the most important aesthetic movements to emerge in post-war Europe, but its uncompromising music and modernist aesthetic has often been misunderstood. This book analyses the writings of important serialists like Stockhausen, Pousseur and Eimert and places them in a wider cultural, musicological and aesthetic context.
Serial music was one of the most important aesthetic movements to emerge in post-war Europe, but its uncompromising music and modernist aesthetic has often been misunderstood. This book focuses on the controversial journal die Reihe, whose major contributors included Stockhausen, Eimert, Pousseur, Dieter Schnebel and G. M. Koenig, and discusses it in connection with many lesser-known sources in German musicology. It traces serialism's debt to the theories of Klee and Mondrian, and its relationship to developments in concrete art, modern poetry and the information aesthetics and semiotics of Max Bense and Umberto Eco. M. J. Grant sketches an aesthetic theory of serialism as experimental music, arguing that serial theory's embrace of both rigorous intellectualism and aleatoric processes is not, as many have suggested, a paradox, but the key to serial thought and to its relevance for contemporary theory.
Serial music was one of the most important aesthetic movements to emerge in post-war Europe, but its uncompromising music and modernist aesthetic has often been misunderstood. This book focuses on the controversial journal die Reihe, whose major contributors included Stockhausen, Eimert, Pousseur, Dieter Schnebel and G. M. Koenig, and discusses it in connection with many lesser-known sources in German musicology. It traces serialism's debt to the theories of Klee and Mondrian, and its relationship to developments in concrete art, modern poetry and the information aesthetics and semiotics of Max Bense and Umberto Eco. M. J. Grant sketches an aesthetic theory of serialism as experimental music, arguing that serial theory's embrace of both rigorous intellectualism and aleatoric processes is not, as many have suggested, a paradox, but the key to serial thought and to its relevance for contemporary theory.
M. J. Grant specialises in new and experimental music and is currently working on a 3-year experimental music project in Berlin.
Acknowledgements; Note on the text; Introduction; Part I: 1. European culture in the post-war years; 2. The isolated tone: electronic and serial music, 1945–1954; Part II: 3. Electronic music - 'chaos or order'?; 4. Webern and Debussy; Part III: 5. Serial music as an aleatoric process; 6. 'Das Serielle'; Part IV: 7. Music and language; 8. Serial theory, serial practice - wherefore, and why?; Part V: Conclusion: Dorthin?; Bibliography; Index.
| Erscheint lt. Verlag | 8.6.2005 |
|---|---|
| Reihe/Serie | Music in the Twentieth Century ; Vol.16 |
| Zusatzinfo | 5 Printed music items; 11 Line drawings, unspecified |
| Verlagsort | Cambridge |
| Sprache | englisch |
| Maße | 190 x 246 mm |
| Gewicht | 510 g |
| Themenwelt | Kunst / Musik / Theater ► Musik ► Musikgeschichte |
| Kunst / Musik / Theater ► Musik ► Musiktheorie / Musiklehre | |
| ISBN-10 | 0-521-61992-0 / 0521619920 |
| ISBN-13 | 978-0-521-61992-9 / 9780521619929 |
| Zustand | Neuware |
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