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"Introduction Steve Reich pitched up in San Francisco in September 1961. He was a young musician, one who had been taken by the early-century work of the Hungarian composer and folklorist Bâela Bartâok, and he had journeyed west from New York in the hope of studying with Leon Kirchner, a composer in the rough-lyric Bartâok tradition who'd been teaching at Mills College. But Kirchner had just left for Harvard, so Reich ended up working at Mills under Luciano Berio. Over the course of the previous decade, Berio had become identified as a figurehead of the European post-war avant-garde: his ultramodern serialist work was quite a different proposition to Kirchner's own"--
List of contents
Part I. Histories; Part II. Techniques and Technologies; Part III. Mediation; Part IV. Identities.
About the author
Tom Perchard's work centres on the history and historiography of jazz and popular music. He is the author of After Django: Making Jazz in Postwar France (2015) and Lee Morgan: His Life, Music and Culture (2006). He is the recipient of a Leverhulme Major Research Fellowship for a project on popular music in the postwar British home.Stephen Graham is the author of Sounds of the Underground: A Cultural, Political and Aesthetic Mapping of Underground and Fringe Music (2016). He has written articles on late style, fringe music writing and popular modernism. He is working on a book about noise music.Tim Rutherford-Johnson is a contemporary music journalist and musicologist. He is the author of Music after the Fall: Modern Composition and Culture since 1989 (2017) and The Music of Liza Lim (forthcoming), and editor of the sixth edition of the Oxford Dictionary of Music (2012).Holly Rogers is a scholar of experimental audiovisual culture, and is author of Sounding the Gallery: Video and the Rise of Art-Music (2013). She has edited books on documentary film sound, experimental film soundtracks, transmedia, cybermedia and music video, and edits a book series for Bloomsbury on music and media, and the journal Sonic Scope.
Summary
This is the first introductory survey of western twentieth-century music to address popular music, art music and jazz on equal terms. It highlights the interconnections between different genres and styles, enabling better understanding of their aesthetics, practice and key repertoire. It is designed for easy use by students and teachers.
