Prelude
1945
1. Rational and irrational: western Europe, 1945-50
Paris, 1945-8 - The young Boulez - Boulez's Second Piano Sonata -
Other stories - Musique concrète - Variations: Nono
2. Silencing music: Cage, 1946-52
Rhythmic structuring - Towards silence - Around Cage
3. Total organization: western Europe, 1949-54
The moment of total serialism 1: Darmstadt 1949 and Darmstadt 1951
- Interlude: the patrons of modernism - The moment of total
serialism 2: Paris 1952 - The human voice 1: Nono - Electronic
music - The human voice 2: Barraqué
4. Classic modernism and other kinds: the United States,
1945-55
Schoenberg - Carter - Babbitt - Home-made music - Wolpe - After
silence
5. The Cold War
6. Extension and development: western Europe, 1953-6
From points to groups - Systems of organization - Le Marteau sans
maître - Sound and word - ...how time passes... - Statistics
1956
7. Mobile form: 1956-61
Cage - Stockhausen and Boulez - Boulez and Berio - Barraqué - Exit
from the labyrinth
8. Elder responses
Stravinsky - Messiaen - Varèse - Symphonists and others
9. Reappraisal and disintegration: 1959-64
Questioning voices: Ligeti, Bussotti, Kagel - Stumbling steps:
Kurtág - Listening ears: Cage, Young, Babbitt - Exploiting the
moment: Stockhausen - The last concert: Nono
1965
10. Of elsewhen and elsewhere
The distant past - (The imaginary past) - The distant or not so
distant east - Quotation - Meta-music
11. Music theatre
Opera and 'Opera' - Music theatre - Instrumental theatre
12. Politics
Cardew - Rzewski - The composer in the factory
13. Virtuosity and improvisation
The virtuoso - Virtuosity in question - The electric musician -
Improvisation
14. Orchestras or Computers
Ochestras - Computer Music
15. Minimalism and melody
New York minimalism - Minimalism in Europe - Melody
16. Ending
1975
17. Holy Minimalisms
Pärt - Tavener and Górecki - (Messiaen) - Ustvolskaya
18. New Romanticisms
Rihm - Schnittke, and the hectic present - Gubaidulina, and the
visionary future - Silvestrov, and the reverberating past -
Symphony? - Feldman and loss - Lachenmann and regain
19. New Simplicities
Cage, or innocence - Denyer, or outsiderness - Kurtág, or immediacy
- Holliger, or extremity - Sciarrino, or intimacy
20. New Complexities
Ferneyhough - Finnissy - Charged solos
21. Old Complexities
Carter and the poets - Xenakis and the Arditti Quartet - Nono and
listening - Stockhausen and Licht - Birtwistle and ritual - Berio
and memory - IRCAM and Boulez
22. Spectralisms
Radulescu and Tenney - Grisey - Vivier
23. (Unholy?) Minimalisms
Reich - Andriessen
24. Eclecticisms
Kagel et al. - Donatoni - Bolcom and Adams - Ligeti
1989
25. Towards mode/meme
Rootless routes: Ligeti - Memory's memorials: Berio and Kurtág -
Remade modes: Adams, Adès, Benjamin - Pesson's past and Pauset's -
Traditions' tracks: around Zorn
26. Towards the strange self
Act I: Schneewittchen - Entr'acte: Kurtág's Beckett - Act II: Luci
mie traditrici - Entr'acte: Birtwistle's Celan - Act III: Three
Sisters - Entr'acte: Kyburz's no-one - Act IV: Das Mädchen mit den
Schwefelhölzern
27. Towards transcendence
Gubaidulina and Christ - Haas and darkness - Harvey and the Buddha
- Grisey and rebirth
2001
28. Towards change?
Resources
Index
Paul Griffiths is an acclaimed writer on contemporary and classical music whose books include A Concise History of Western Music and The Penguin Companion to Classical Music. He is also known as a librettist (Elliott Carter's What Next?) and novelist. In 2002, Griffiths was honored by the French government as a Chevalier de l'Ordre des Arts et des Lettres.
"Recommended for all libraries serving music programs at the
undergraduate level or higher. There is a wealth of information
here, and few write as knowledgeably and engagingly on new music as
Griffiths." --Fontes Artis Musicae
"Griffiths has done an outstanding job of making this music at
least intellectually accessible. It is our job as listeners, if we
seriously care, to seek it out and try to encounter it on its own
terms. Highly recommended for libraries with sections on new music,
composition, music theory and contemporary aesthetics/philosophy."
--Music Media Monthly
"Modern Music and After remains as close a definitive survey,
study, guide and analysis to its field as there is; it can be
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convince you to buy this third edition, even if you've read the
earlier one(s)...the updates and referencing are significant. For
a
comprehensive, readable, authoritative, entertaining, lively,
open-minded and all round well-written book on the development of
music in our time, there is no better." --Classical.net
"Recommended for all libraries serving music programs at the
undergraduate level or higher. There is a wealth of information
here, and few write as knowledgeably and engagingly on new music as
Griffiths." --Fontes Artis Musicae
Praise for the first edition:
"Griffiths is excellent about a whole host of composers he
admires....Any reader, enthusiast or specialist, will find much to
interest and provoke. This book is probably the best of its kind in
English today."--Ian Pace, Tempo: Quarterly Review of Modern
Music
"Griffiths is so fluent, so practiced a writer in this field that
it is understandable if the closest he gets to sceptical
disengagement is in suggesting that a composer leaves critics, and
even musicologists, lost for words." --Arnold Whittall, The Musical
Times
"[A] marvellously thought-provoking and engaging text."--The
Musical Times
"A must for the student, and also for the general reader."--The
Times
"As impressive for its accuracy, as for the clarity, acumen, and
wit of its writing." --Classical Music
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