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New Ears for New Music

Translated by Kenneth Chalmers

Constantin Floros

20th-century music is characterized by a bewildering multitude of trends and movements. Often several movements co-exist in contradiction to each other, in a reflection of the century’s intellectual currents and social and political changes, and the reactions they prompted. In this book, renowned musicologist and author Constantin Floros provides a survey of the different styles and tendencies in new music, presenting the most important composers from Schoenberg to Rihm in a series of fluent and readable essays that will appeal to connoisseurs and non-specialists alike. For Floros, music and biography are inseparable, and here he puts music in the context of the social and psychological background of its time.
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Notes

← 172 | 173 → Notes

Extract

Preface

1    György Ligeti: Conversation with Constantin Floros on 15. September 1999 in Hamburg.

2    Iwan Martynow: Dmitri Schostakowitsch, Berlin 1947. Quoted from Hans Heinz Stucken-schmidt: Neue Musik (zwischen den beiden Kriegen, Vol. 2), Berlin 1951, 329-332.

From Expressionism to Experiment

1    Ernst H. Gombrich: The Story of Art, 16th ed. London 1996, 612.

2    Paul Bekker: Neue Musik (1919), in: Bekker: Neue Musik. Dritter Band der Gesammelten Schriften, Stuttgart/Berlin 1923, 85-118.

3    Robert Schumann: Gesammelte Schriften über Musik und Musiker, 5th ed. Martin Kreisig, 2 vols., Leipzig 1914, Vol. 1, 26.

4    Quoted from Theodor W. Adorno: Philosophie der Neuen Musik, Frankfurt am Main 1958, 45. English translation: Philosophy of Modern Music, New York 1974.

5    Arnold Schönberg: Harmonielehre, Leipzig/Vienna 1911, 15. English translation: Theory of Harmony, ed. Roy E. Carter, Berkeley and Los Angeles 1978.

6    Wassily Kandinsky: Das Geistige in der Kunst, 1st ed.. 1912, 4th ed. 1952, 6th ed. (Introduction Max Bill) Berlin Bümpliz 1959, 54.

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