Björn Heile is Professor of Music (post-1900) at the University of Glasgow. He is the author of The Music of Mauricio Kagel (Ashgate, 2006), the editor of The Modernist Legacy: Essays on New Music (Ashgate, 2009), co-editor (with Martin Iddon) of Mauricio Kagel bei den Darmstädter Ferienkursen für Neue Musik: Eine Dokumentation (2009) and co-editor (with Peter Elsdon and Jenny Doctor) of Watching Jazz: Encountering Jazz Performance on Screen (2016), plus many other publications on new music, experimental music theatre and jazz. Among other projects, he is trying to write a book on the global history of musical modernism.Charles Wilson was Senior Editor for twentieth-century composers on the second edition of the New Grove Dictionary of Music and Musicians, and currently lectures at the School of Music, Cardiff University. He served as Editor-in-Chief (2009–12) of the journal Twentieth-Century Music. His research focuses on the relationship between historiography and practice (both personal and institutional) in the art music of the twentieth and twenty-first centuries.

• Introduction Björn Heile and Charles Wilson Part I Foundations 1: The Birth of Modernism – Out of the Spirit of Comedy James R. Currie 2: What Was Contemporary Music? The New, the Modern and the Contemporary in the International Society for Contemporary Music (ISCM) Sarah Collins 3: Institutions, Artworlds, New Music Martin Iddon 4: Modernism and History David J. Code 5: Musical Modernity, the Beautiful and the Sublime Edward Campbell Part II Positions 6: Reactive Modernism J. P. E. Harper-Scott 7: Musical Modernism, Global: Comparative Observations Björn Heile 8: Musical Modernism and Exile: Cliché as Hermeneutic Tool Eva Moreda Rodríguez 9: Modernism: The People’s Music? Robert Adlington 10: Modernism for and of the Masses? On Popular Modernisms Stephen Graham 11: Times Like the Present: De-limiting Music in the Twenty-First Century Charles Wilson 12: The Composer as Communication Theorist M.J. Grant 13: How Does Modernist Music Make You Feel? Between Subjectivity and Affect Trent Leipert Part III Practices 14: Between Modernism and Postmodernism: Structure and Expression in John Adams, Kaija Saariaho and Thomas Adès Alastair Williams 15: Foundations and Fixations: Continuities in British Musical Modernism Arnold Whittall 16: The Balinese Moment in the Montreal New Music Scene as a Regional Modernism Jonathan Goldman 17: Vers une écriture liminale: Serialism, Spectralism and Écriture in the Transitional Music of Gérard Grisey Liam Cagney 18: Contemporary Opera and the Failure of Language Amy Bauer 19: ‘Es klang so alt und war doch so neu!’: Modernist Operatic Culture through the Prism of Staging 'Die Meistersinger von Nürnberg' Mark Berry 20: The Modernism of the Mainstream: An Early Twentieth-Century Ideology of Violin Playing Stefan Knapik

Björn Heile is Professor of Music (post-1900) at the University of Glasgow. He is the author of The Music of Mauricio Kagel (Ashgate, 2006), the editor of The Modernist Legacy: Essays on New Music (Ashgate, 2009), co-editor (with Martin Iddon) of Mauricio Kagel bei den Darmstädter Ferienkursen für Neue Musik: Eine Dokumentation (2009) and co-editor (with Peter Elsdon and Jenny Doctor) of Watching Jazz: Encountering Jazz Performance on Screen (2016), plus many other publications on new music, experimental music theatre and jazz. Among other projects, he is trying to write a book on the global history of musical modernism.Charles Wilson was Senior Editor for twentieth-century composers on the second edition of the New Grove Dictionary of Music and Musicians, and currently lectures at the School of Music, Cardiff University. He served as Editor-in-Chief (2009–12) of the journal Twentieth-Century Music. His research focuses on the relationship between historiography and practice (both personal and institutional) in the art music of the twentieth and twenty-first centuries.

• Introduction Björn Heile and Charles Wilson Part I Foundations 1: The Birth of Modernism – Out of the Spirit of Comedy James R. Currie 2: What Was Contemporary Music? The New, the Modern and the Contemporary in the International Society for Contemporary Music (ISCM) Sarah Collins 3: Institutions, Artworlds, New Music Martin Iddon 4: Modernism and History David J. Code 5: Musical Modernity, the Beautiful and the Sublime Edward Campbell Part II Positions 6: Reactive Modernism J. P. E. Harper-Scott 7: Musical Modernism, Global: Comparative Observations Björn Heile 8: Musical Modernism and Exile: Cliché as Hermeneutic Tool Eva Moreda Rodríguez 9: Modernism: The People’s Music? Robert Adlington 10: Modernism for and of the Masses? On Popular Modernisms Stephen Graham 11: Times Like the Present: De-limiting Music in the Twenty-First Century Charles Wilson 12: The Composer as Communication Theorist M.J. Grant 13: How Does Modernist Music Make You Feel? Between Subjectivity and Affect Trent Leipert Part III Practices 14: Between Modernism and Postmodernism: Structure and Expression in John Adams, Kaija Saariaho and Thomas Adès Alastair Williams 15: Foundations and Fixations: Continuities in British Musical Modernism Arnold Whittall 16: The Balinese Moment in the Montreal New Music Scene as a Regional Modernism Jonathan Goldman 17: Vers une écriture liminale: Serialism, Spectralism and Écriture in the Transitional Music of Gérard Grisey Liam Cagney 18: Contemporary Opera and the Failure of Language Amy Bauer 19: ‘Es klang so alt und war doch so neu!’: Modernist Operatic Culture through the Prism of Staging 'Die Meistersinger von Nürnberg' Mark Berry 20: The Modernism of the Mainstream: An Early Twentieth-Century Ideology of Violin Playing Stefan Knapik

Björn Heile is Professor of Music (post-1900) at the University of Glasgow. He is the author of The Music of Mauricio Kagel (Ashgate, 2006), the editor of The Modernist Legacy: Essays on New Music (Ashgate, 2009), co-editor (with Martin Iddon) of Mauricio Kagel bei den Darmstädter Ferienkursen für Neue Musik: Eine Dokumentation (2009) and co-editor (with Peter Elsdon and Jenny Doctor) of Watching Jazz: Encountering Jazz Performance on Screen (2016), plus many other publications on new music, experimental music theatre and jazz. Among other projects, he is trying to write a book on the global history of musical modernism.Charles Wilson was Senior Editor for twentieth-century composers on the second edition of the New Grove Dictionary of Music and Musicians, and currently lectures at the School of Music, Cardiff University. He served as Editor-in-Chief (2009–12) of the journal Twentieth-Century Music. His research focuses on the relationship between historiography and practice (both personal and institutional) in the art music of the twentieth and twenty-first centuries.

• Introduction Björn Heile and Charles Wilson Part I Foundations 1: The Birth of Modernism – Out of the Spirit of Comedy James R. Currie 2: What Was Contemporary Music? The New, the Modern and the Contemporary in the International Society for Contemporary Music (ISCM) Sarah Collins 3: Institutions, Artworlds, New Music Martin Iddon 4: Modernism and History David J. Code 5: Musical Modernity, the Beautiful and the Sublime Edward Campbell Part II Positions 6: Reactive Modernism J. P. E. Harper-Scott 7: Musical Modernism, Global: Comparative Observations Björn Heile 8: Musical Modernism and Exile: Cliché as Hermeneutic Tool Eva Moreda Rodríguez 9: Modernism: The People’s Music? Robert Adlington 10: Modernism for and of the Masses? On Popular Modernisms Stephen Graham 11: Times Like the Present: De-limiting Music in the Twenty-First Century Charles Wilson 12: The Composer as Communication Theorist M.J. Grant 13: How Does Modernist Music Make You Feel? Between Subjectivity and Affect Trent Leipert Part III Practices 14: Between Modernism and Postmodernism: Structure and Expression in John Adams, Kaija Saariaho and Thomas Adès Alastair Williams 15: Foundations and Fixations: Continuities in British Musical Modernism Arnold Whittall 16: The Balinese Moment in the Montreal New Music Scene as a Regional Modernism Jonathan Goldman 17: Vers une écriture liminale: Serialism, Spectralism and Écriture in the Transitional Music of Gérard Grisey Liam Cagney 18: Contemporary Opera and the Failure of Language Amy Bauer 19: ‘Es klang so alt und war doch so neu!’: Modernist Operatic Culture through the Prism of Staging 'Die Meistersinger von Nürnberg' Mark Berry 20: The Modernism of the Mainstream: An Early Twentieth-Century Ideology of Violin Playing Stefan Knapik