Modernism and Music: An Anthology of SourcesDaniel Albright University of Chicago Press, 2004 M02 3 - 428 pages If in earlier eras music may have seemed slow to respond to advances in other artistic media, during the modernist age it asserted itself in the vanguard. Modernism and Music provides a rich selection of texts on this moment, some translated into English for the first time. It offers not only important statements by composers and critics, but also musical speculations by poets, novelists, philosophers, and others-all of which combine with Daniel Albright's extensive, interlinked commentary to place modernist music in the full context of intellectual and cultural history. |
Contents
Introduction | 1 |
from The Future of the Opera 1927 | 15 |
from From My Life 1944 | 20 |
Testing the Boundaries between Speech and Music | 23 |
from Genesis of a Music 1949 | 30 |
Foreword to Pierrot Lunaire 1912 | 38 |
The Relationship to the Text 1912 | 39 |
Voice in Opera 1929 | 43 |
from An Autobiography 1934 | 239 |
The Influence of Peasant Music on Modern Music 1931 | 244 |
EXPRESSIONISM | 251 |
Beethoven 1870 | 255 |
Murderer Hope of Women 19071917 | 265 |
from Die glückliche Hand 191013 brainstorm | 271 |
from Philosophy of Modern Music 1948 | 272 |
NEOCLASSICISM AND THE NEW OBJECTIVITY | 276 |
from Sirens 1922 | 45 |
from The Waves 1931 | 49 |
from The Music of Poetry 1942 | 52 |
from Words Music and Program Music 1925 | 55 |
from A Composers World 194950 | 60 |
Testing the Boundaries between the Visual Arts and Music | 64 |
from Harmonielehre 1911 | 66 |
Letter to Nicolas Slonimsky 1936 | 71 |
from Philosophy of Modern Music 1948 | 72 |
TimeCanvas1983 | 80 |
from Formalized Music 1971 | 82 |
BALLET AND FILM | 84 |
The Technique of Moving Plastic 1922 | 86 |
from Composing for the Films 1947 | 93 |
The New Music Theater | 103 |
from The Birth of Tragedy 1872 | 108 |
Letter to Richard Strauss 1911 | 114 |
Shifts in Musical Composition 1927 | 117 |
OperaWhere To? 1929 | 120 |
The Problem of Opera 1928 | 124 |
from Is Opera Still Possible Today? 1936 | 127 |
from The World of Opera 1967 | 134 |
Fuller Universes of Music | 137 |
from Monsieur Croche antidilettante 1901 | 139 |
from Sketch of a New Esthetic of Music 1907 | 141 |
Degeneration and Regeneration in Music 1907 | 148 |
from Essays before a Sonata 1920 | 157 |
from Postface to 114 Songs 1922 | 159 |
Free Music 1938 | 165 |
PANTONALITY | 167 |
Correspondence 1911 | 169 |
NOISE | 172 |
The Art of Noises Futurist Manifesto 1913 | 177 |
Music and the Times 1936 | 185 |
Fragments from Silence 1961 | 190 |
New Discipline The TwelveTone Method | 193 |
from Composition with Twelve Tones fiat lux 1941 | 194 |
from The Path to TwelveNote Composition 1932 | 202 |
from Dr Faustus 1947 | 216 |
The TwelveTone Method 1951 | 222 |
The TwelveTone Method 1963 | 223 |
Isms | 224 |
SYMBOLISM | 226 |
from Richard Wagner and Tannhauser in Paris 1861 | 229 |
from Swanns Way 1913 | 231 |
PRIMITIVISM AND EXOTICISM | 234 |
What I Wished to Express in The Consecration of Spring 1913 | 237 |
Sonnets to Orpheus 13 1922 | 280 |
from An Autobiography 1936 | 282 |
from Expositions and Developments Expressivity1962 | 283 |
from Expositions and Developments Pulcinella1962 | 284 |
from Dialogues 1968 | 286 |
from Themes and Conclusions 1969 | 288 |
from Three Satires 1925 | 289 |
from New Humanity and Old Objectivity 1931 | 291 |
from Music and Mathematics 1937 | 295 |
The Age of Pastiche 1934 | 297 |
Stravinsky as Pasticheur 1934 | 300 |
from Lectures in America 1935 | 305 |
Interview Ravels Toys 1933 | 307 |
Interview Finding Tunes in Factories 1933 | 308 |
DADAISM AND SURREALISM | 309 |
Ursonate Rondo 192132 | 318 |
Program Note for Parade 1917 | 320 |
Memoirs of an Amnesiac 1912 | 322 |
from Cock and Harlequin 1918 | 324 |
For General Intelligibility as a Confession 1919 | 327 |
Hornpipe 1922 | 329 |
What Is Called the New Music and Why? 1937 | 330 |
Music Social Responsibility and Politics | 337 |
On Old and New Music 1925 | 339 |
The Modern Theatre Is the Epic Theatre 1930 | 343 |
Münchhausen 1931 | 349 |
Cabaret 1932 | 351 |
from A Composers World 194950 | 355 |
Der Kaiser von Atlantis Final Scene 194344 | 360 |
A Survivor from Warsaw 1947 | 361 |
Rayok The Music Lesson 1957 | 364 |
Testing the Boundaries between Popular and High Art | 367 |
On a Negro Orchestra 1919 | 368 |
from The Big Sea 1940 | 375 |
MoonFaced StarryEyed 194647 | 377 |
The Negroes Are Conquering Europe 1926 | 378 |
from Tune In America 1931 | 381 |
The Composer and the Machine Age 1933 | 386 |
The Negro on the Spiral or A Method of Negro Music 1934 | 390 |
Has Jazz Influenced the Symphony? 1947 | 398 |
Once Again Swing 1939 | 404 |
The Rhythmic Basis of American Music 1955 | 405 |
| 409 | |
Credits | 411 |
| 415 | |
Other editions - View all
Common terms and phrases
Adorno aesthetic Alban Berg American music Antheil Arnold Schoenberg artistic ballet become Beethoven Berg Brahms Brecht cabaret called century chords classical color composer composition concerning dance Debussy Dionysus dissonance drama Eisler elements emotion Ernst Krenek essay European example experience expression Expressionism Expressionist Ezra Pound feeling film George Antheil German harmony Harry Partch hear Hindemith human idea Igor Stravinsky instruments jazz Kandinsky Krenek Kurt Weill language liar liar liar liar liar listener means melody Modernist movement musicians nature Negro Neoclassicism Nietzsche noises notes object opera orchestra painter painting Partch performance perhaps piano picture piece play poem poet poetry possible Press rhythm rhythmic seems sense singing Sonata song sort sound speak speech Strauss style Surrealism Symphony T. S. Eliot theater theme thing tion tonality tone trans twelve-tone Virgil Thomson voice Wagner Wassily Kandinsky Webern Weill whole words write wrote York