Composing Modernism is the first book-length study to tell the fascinating story of a key strain of American composition during the Cold War. The Princeton School set aspirations for postwar music composition and discourse. Milton Babbitt especially sought a scientific conception of the composing researcher. Around 1967, J. K. Randall began challenging the School's tenets of twelve-tone composition, music-theoretical axiomatization, and electronic synthesis. Randall, Elaine Barkin, and Benjamin Boretz embraced Cagean experimentalism and turned to phenomenology, improvisation, and new forms of community making. This book explores these contrasting paradigms of the musical avant-garde, with a focus on the people, subjects, and aesthetic and formal aspects of a major force in Cold War music. By uncovering many of the ideologies of the Princeton School, Scott Gleason highlights the utopian thought that was central across several generations of Princeton composer-theorists.
Les informations fournies dans la section « Synopsis » peuvent faire référence à une autre édition de ce titre.
Scott Gleason is Acquisitions Editor for Grove Music Online at Oxford University Press and an editor for the OPEN SPACE magazine and Perspectives of New Music.
Les informations fournies dans la section « A propos du livre » peuvent faire référence à une autre édition de ce titre.
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Hardcover. Etat : new. Hardcover. Composing Modernism is the first book-length study to tell the fascinating story of a key strain of American composition during the Cold War. The Princeton School set aspirations for postwar music composition and discourse. Milton Babbitt especially sought a scientific conception of the composing researcher. Around 1967, J. K. Randall began challenging the School's tenets of twelve-tone composition, music-theoretical axiomatization, and electronic synthesis. Randall, Elaine Barkin, and Benjamin Boretz embraced Cagean experimentalism and turned to phenomenology, improvisation, and new forms of community making. This book explores these contrasting paradigms of the musical avant-garde, with a focus on the people, subjects, and aesthetic and formal aspects of a major force in Cold War music. By uncovering many of the ideologies of the Princeton School, Scott Gleason highlights the utopian thought that was central across several generations of Princeton composer-theorists. Shipping may be from multiple locations in the US or from the UK, depending on stock availability. N° de réf. du vendeur 9780520397330
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Buch. Etat : Neu. Neuware - Composing Modernism is the first book-length study to tell the fascinating story of a key strain of American composition during the Cold War. The Princeton School set aspirations for postwar music composition and discourse. Milton Babbitt especially sought a scientific conception of the composing researcher. Around 1967, J. K. Randall began challenging the School's tenets of twelve-tone composition, music-theoretical axiomatization, and electronic synthesis. Randall, Elaine Barkin, and Benjamin Boretz embraced Cagean experimentalism and turned to phenomenology, improvisation, and new forms of community making. This book explores these contrasting paradigms of the musical avant-garde, with a focus on the people, subjects, and aesthetic and formal aspects of a major force in Cold War music. By uncovering many of the ideologies of the Princeton School, Scott Gleason highlights the utopian thought that was central across several generations of Princeton composer-theorists. N° de réf. du vendeur 9780520397330
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Buch. Etat : Neu. Composing Modernism | Musical Formalism and the Experimental Turn in the Princeton School | Scott Gleason | Buch | Einband - fest (Hardcover) | Englisch | 2026 | University of California Press | EAN 9780520397330 | Verantwortliche Person für die EU: Libri GmbH, Europaallee 1, 36244 Bad Hersfeld, gpsr[at]libri[dot]de | Anbieter: preigu. N° de réf. du vendeur 136898203
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Hardcover. Etat : new. Hardcover. Composing Modernism is the first book-length study to tell the fascinating story of a key strain of American composition during the Cold War. The Princeton School set aspirations for postwar music composition and discourse. Milton Babbitt especially sought a scientific conception of the composing researcher. Around 1967, J. K. Randall began challenging the School's tenets of twelve-tone composition, music-theoretical axiomatization, and electronic synthesis. Randall, Elaine Barkin, and Benjamin Boretz embraced Cagean experimentalism and turned to phenomenology, improvisation, and new forms of community making. This book explores these contrasting paradigms of the musical avant-garde, with a focus on the people, subjects, and aesthetic and formal aspects of a major force in Cold War music. By uncovering many of the ideologies of the Princeton School, Scott Gleason highlights the utopian thought that was central across several generations of Princeton composer-theorists. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability. N° de réf. du vendeur 9780520397330
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