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Nicholas Cook, Anthony Pople - The Cambridge History of Twentieth-Century Music, Häftad

Häftad, Engelska, 2014

The Cambridge History of Twentieth-Century Music

Av Nicholas Cook, Anthony Pople

Del i serien The Cambridge History of Music

771 kr

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Beskrivning
The Cambridge History of Twentieth-Century Music, first published in 2004, is an appraisal of the development of music in the twentieth century from the vantage-point of the twenty-first. This wide-ranging and eclectic book traces the progressive fragmentation of the European 'art' tradition, and its relocation as one tradition among many at the century's end. While the focus is on Western traditions, both 'art' and popular, these are situated within the context of world music, including a case study of the interaction of 'art' and traditional musics in post-colonial Africa. An international authorship brings a wide variety of approaches to music history, but the aim throughout is to set musical developments in the context of social, ideological, and technological change, and to understand reception and consumption as integral to the history of music.
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Nicholas Cook is Professor of Music at Royal Holloway, University of London, and Director of the AHRB Research Centre for the History and Analysis of Recorded Music. His books include A Guide to Musical Analysis (1987), Music, Imagination, and Culture (1990), the Cambridge Music Handbook Beethoven: Symphony no. 9 (1993), Analysing Musical Multimedia and Music: A Very Short Introduction (both 1998). Anthony Pople was Professor of Music at the University of Nottingham until his death in 2003. His publications include two Cambridge Music Handbooks - Berg: Violin Concerto (1991) and Messiaen: Quatuor pour la fin du temps (1998); he edited Theory, Analysis and Meaning in Music (1994) as well as The Cambridge Companion to Berg (1997).

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'Its pluralist narrative finds room for pop, jazz and easy listening alongside classical mainstreams and avant-garde orthodoxies. The non-interventionist stance makes for lively debate between contributors, reflecting the revisionist brand of musicology where the importance of any musical culture must be constantly contested.' The Independent

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