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e-Book Companion to Twentieth-Century Music download

e-Book Companion to Twentieth-Century Music download

by Norman Lebrecht

ISBN: 0671666541
ISBN13: 978-0671666545
Language: English
Publisher: Simon & Schuster (July 6, 1993)
Pages: 432
Category: Writing Research and Publishing Guides
Subategory: Reference

ePub size: 1460 kb
Fb2 size: 1129 kb
DJVU size: 1625 kb
Rating: 4.8
Votes: 957
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Distinguished music critic Norman Lebrecht discusses the major composers, conductors .

Distinguished music critic Norman Lebrecht discusses the major composers, conductors, virtuosos, and songwriters who have made the finest music of the last 90 years-from Puccini to Presley, Rachmaninoff to rap. Illustrations.

Twentieth century music has been remarkable for its pluralism. So I actually find the "Companion" a handy reference to some of my favourite music. I haven't found a similar book that covers as much as what this one does. And I often appreciate the critical viewpoints. Negative points:The "Companion" tries to cover a lot.

The Companion to 20th-Century Music Da Capo Press – 1 September . Norman Lebrecht reports at vivid firsthand the unvarnished history of a vital institution which was designed to define a nation - and spectacularly failed. Music in London Aurum Press – 30 September 1992.

The Companion to 20th-Century Music Da Capo Press – 1 September 1996 Synopsis: 20th-century music has been remarkable for its pluralism. The various styles – atonality, neo-classicism, serialism, jazz, computer music, minimalism, happenings, sheer chance – have been far from monolithic, and experimentation has been, perhaps, the century’s only defining feature. A Musical Book of Days St Martins Pr (T) – 1 October 1989.

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This companion contains entries on dozens of 20th century composers. It also assesses the merits of jazz and rock and their role in musical evolution, and examines the political environment in which music was created. Simon & Schuster. The various styles,atonality, neo-classicism, nationalism, serialism, jazz, computer music, minimalism, electronics, folklorism, happenings," sheer chance,have been far from monolithic, and experimentation has been, perhaps, the century's only defining feature. With over 2500 entries, The Companion to 20th-Century Music is the first book to comprehensively define and applaud this diversity.

The Companion to 20th Century Music celebrates the extraordinary range of musical accomplishment in this century: from atonality . This Companion is, I believe, the first to define and applaud that diversity", says Norman Lebrecht.

The Companion to 20th Century Music celebrates the extraordinary range of musical accomplishment in this century: from atonality, neoclassicism and serialism to minimalism, computer music, and sheer chance. It recognizes and evaluates the successors to Verdi and Puccini, Brahms and Mahler, while at the same time analyzing the contributions of jazz and rock in recent musical evolution. With more than 2,500 entries, the book is comprehensive in scope and factual in detail. But this book differs from other reference works in important ways.

Music in the Early Twentieth Century: The Oxford History of Western Music by Richard . Ross, Lebrecht and Taruskin (Oxford History of Western Music vols.

Music in the Early Twentieth Century: The Oxford History of Western Music by Richard Taruskin (pub. 2009) Music in the Late Twentieth Century: The Oxford History of Western Music by Richard Taruskin (pub. 2009) A Concise History of Modern Music by Paul Griffiths : Debussy ~ Boulez (pu. I don't know if the companion book is reliable or not-haven't read it-but I do know that inaccuracies in Lebrecht's newspaper column have been pointed out with some frequency, and one of his previous books had to be withdrawn and an apology issue because the Naxos CEO threatened to sue him for libel.

Norman Lebrecht writes on music and other arts for the London Sunday Times. Companion to Twentieth-Century Music. He is author of Discord: Conflict and the Making of Music. Ostensibly, the book is specifically about classical music, but I think it goes beyond this and is informative about human nature. My one caveat is that I think Lebrecht is over-optimistic in the preface about whether the anecdotes are true. In the case of composers I've done some reading about, I have reason to think that a number of the anecdotes are preposterous fabrications.

An accessible guide to the music of this century covers ninety years and a great variety of styles and artists, from Puccini to Presley, from Rachmaninoff to rap. 10,000 first printing.
Comments:
Tori Texer
If you are looking for a comprehensive and objective guide to this musical period, Grove would be a better choice. If you enjoy Lebrecht's columns on "La Scena Musicale," however, this book is highly entertaining. Lebrecht is opinionated, highly informed, and does not hesitate to criticize if he feels it is warranted. Those who are annoyed by his obvious bias would be advised to avoid this book. Although many obscure composers and movements are treated, there are a few significant omissions: Ezra Pound, despite authoring 3 operas as well as other works, is mentioned only in the entry for his orchestrator, George Antheil. Arvo Pärt's seminal work Tabula Rasa is barely mentioned in his entry; it probably merits an entry of its own. And how can any guide to 20th Century classical music include Frank Zappa, but omit Prof. Peter Schickele and P.D.Q. Bach? Entries referenced elsewhere in the text are marked with an asterisk, however, some may have been lost in editing. I searched in vain for the entry on "self-mutilation," referenced in the entry on "aesthetics."

This is basically an encyclopedia, and the highest praise for it may be that there are few books in that format on any subject that merit reading from cover to cover -- this is one of them.

Tholmeena
Okay. I should qualify that. This book is not intended to cover popular music. Not even jazz. We are only talking about "art" or "serious" music here. And then only some of that. But since you are here, you probably know that already. ...
Mr. Lebrecht is a fairly opinionated Englishman. If you agree with him, fine. If you don't, tough. (Example, from the entry on Australasia: "A late developer in musical terms, the antipodes contributed sopranos - ... - and little else". Ouch! Mr. Lebrecht doesn't care much for electronic/computer music. Ouch again.)
I guess I am lucky in that I agree with many Mr. Lebrecht's opinions - most of the time. So I actually find the "Companion" a handy reference to some of my favourite music. I haven't found a similar book that covers as much as what this one does. And I often appreciate the critical viewpoints.
Negative points:
The "Companion" tries to cover a lot. This means that every heading provides only a limited amount of information. Yet most topics packs a punch. Other books cover fewer topics, but more information per topic.
At the same time the "Companion" does not cover everything. I found that many obscure artists (including composers) are missing from the book.
And there is little overall historical analysis of the entire period. The book is presented in the dictionary style - which is what I wanted. Yet it is still nice to browse through. Entries are cross-referenced, as one would expect.
After 429 pages, the appendix has a historical timeline covering world events, the arts, and music. I would have liked a visual diagram of how, say, American composers relate to each other. There are 13 photos, and a handful of line drawings.
For other periods of classical music, you'll need the Oxford Dictionary of Music edited by Michael Kennedy. If you are interested in jazz (as well), look elsewhere. I recommend The New Grove's Dictionary of Jazz edited by Barry Kernfeld. As for the "Companion", get the second edition. It covers the whole of the last century.

Zadora
Lebrecht knows how to turn a good imaginative phrase. He likes and exposes the controversial aspect of composers. When creative juices run out, as in Berio, you know it. He refers to Lukas Foss, the American, as a "poor mans Bernstein". All this is incredibly usefull to have information on modernity in one place. New generation as Dusapin, Skempton,Finnissy,Cardew,Sciarrino,all have at least passing blurbs so you know they exist. The grand auteurs as Stravinsky ,Schoenberg,Stockhausen,Cage, and Boulez occupy girth-like proportions. Yet this is material non repetitious from other references. Lebrecht remains on the surface,when experimental or innovative elements arise,they are discussed always after-the-fact,never as an integral component of a composer's struggle-bound life.

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