Source:Cambridge University Press,, Cambridge, United Kingdom ; New York, United States, p.xiii, 479 pages : (2022)
Keywords:(OCoLC)fst01030269, (OCoLC)fst01030444, (OCoLC)fst01030641, 20e siècle, 20e siècle., 20th century, 20th century., Analyse et appréciation., Analysis, appreciation., Aspect social, fast, History, History and criticism., Industrie, Music, Music trade, Music trade., Music., Musique, Social aspects, Social aspects.
Includes bibliographical references and index.Introduction -- Part 1. Histories. Place and space, local and global ; Modernism ; Postmodernism ; Canons -- Part 2. Techniques and technologies. Work and notation ; Rhythm and time ; Harmony ; Instruments -- Part 3. Mediation. Recording and production ; Copyright and the music industry ; States and markets ; Music and the Moving Image -- Part 4. Identities. Gender and sexuality ; Race and ethnicity ; Audiences, class and consumption ; Centres and peripheries."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 Béla Bartók, and he had journeyed west from New York in the hope of studying with Leon Kirchner, a composer in the rough-lyric Bartók 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"--