Robert P Morgan – författare

This volume covers the development of modern music from World War I to the present. Specific musical responses can be identified from the prevailing social, economic and political circumstances. Since World War II musical languages have tended to converge, with developments in technology and communications. Robert P. Morgan is the author of "Twentieth Century Music", and co-editor of "Alban Berg: Historical and Analytical Perspectives".

Robert P. Morgan is one of a small number of music theorists writing in English who treat music theory, and in particular Schenkerian theory, as part of general intellectual life. Morgan’s writings are renowned within the field of music scholarship: he is the author of the well-known Norton volume Twentieth-Century Music, and of additional books relating to Schenkerian and other theory, analysis and society. This volume of Morgan’s previously published essays encompasses a broad range of issues, including historical and social issues and is of importance to anyone concerned with modern Western music. His specially written introduction treats his writings as a whole but also provides additional material relating to the articles included in this volume.

Morgan divides his text into three chronological sections. Beginning with such giants as Mahler, Richard Strauss and Debussy, he discusses national movements, as represented by Charles Ives and Ralph Vaughan Williams; philosophical movements as various as the Schoenberg/Berg/Webern alliance or "les six"; and the giants who were "sui generis", such as Bartok and Stravinsky. The "isms" such as serialism, minimalism, indeterminism, the new romanticism and pluralism, are clearly delineated and the electronic boom of the last decades is defined.

Since the music is characterized principally by its diversity - by the different schools and movements moving forward simultaneously - it poses special problems for those lacking extensive analytical experience. Therefore, Morgan has included, for each selection, an analytical essay in which he discusses the overall character of the music in question, avoiding special terminology and technical jargon wherever possible. All musical genres are represented and only complete works, movements or integral sections are included. To assist the reader, the book includes instructions on how to read a score and a chart of instrumental names and abbreviations.

Twentieth-century music has been described as complex, vital, diverse, uncertain, experimental, self-conscious, innovative-the list is long and growing. Composers have been both credited with and accused of always searching for something "new," writing works that are mechanistic but romantic, meaningful but unskilled, beautiful but ugly! In The Twentieth Century, Robert P. Morgan helps us grasp the flavor of the era by presenting forty-five readings from the period, nearly all written by active participants in the musical developments of the time. Thus we tune in to the voices of some thirty composers-from Busoni to Babbitt, Ives to Xenakis, Satie to Stravinsky-and learn from performers Anderson and Landowska, philosopher-critics Adorno, Dahlhaus, and Meyer, and writers Cocteau, Barthes, and Eco.

Edward T. Cone was one of the most important and influential music critics of the twentieth century. He was also a master lecturer skilled at conveying his ideas to broad audiences. Hearing and Knowing Music collects fourteen essays that Cone gave as talks in his later years and that were left unpublished at his death. Edited and introduced by Robert Morgan, these essays cover a broad range of topics, including music's position in culture, musical aesthetics, the significance of opera as an art, setting text to music, the nature of twentieth-century harmony and form, and the practice of musical analysis. Fully matching the quality and style of Cone's published writings, these essays mark a critical addition to his work, developing new ideas, such as the composer as critic; clarifying and modifying older positions, especially regarding opera and the nature of sung utterance; and adding new and often unexpected insights on composers and ideas previously discussed by Cone. In addition, there are essays, such as one on Debussy, that lead Cone into areas he had not previously examined.Hearing and Knowing Music represents the final testament of one of our most important writers on music.

Much controversy surrounds Schenker's mature theory and its attempt to explain musical pitch motion. Becoming Heinrich Schenker brings a new perspective to Schenker's theoretical work, showing that ideas characteristic of his mature theory, although in many respects fundamentally different, developed logically out of his earlier ideas. Robert P. Morgan provides an introduction to Schenker's mature theory and traces its development through all of his major publications, considering each in detail and with numerous music examples. Morgan also explores the relationship between Schenker's theory and his troubled ideology, which crucially influenced the evolution of his ideas and was heavily dependent upon both the empirical and idealist strains of contemporary German philosophical thought. Relying where possible on quotations from Schenker's own words, this book offers a balanced approach to his theory and a unique overview of this central music figure, generally considered to be the most prominent music theorist of the twentieth century.

Much controversy surrounds Schenker's mature theory and its attempt to explain musical pitch motion. Becoming Heinrich Schenker brings a new perspective to Schenker's theoretical work, showing that ideas characteristic of his mature theory, although in many respects fundamentally different, developed logically out of his earlier ideas. Robert P. Morgan provides an introduction to Schenker's mature theory and traces its development through all of his major publications, considering each in detail and with numerous music examples. Morgan also explores the relationship between Schenker's theory and his troubled ideology, which crucially influenced the evolution of his ideas and was heavily dependent upon both the empirical and idealist strains of contemporary German philosophical thought. Relying where possible on quotations from Schenker's own words, this book offers a balanced approach to his theory and a unique overview of this central music figure, generally considered to be the most prominent music theorist of the twentieth century.