The New Oxford History of Music, Volume X: The Modern Age, 1890–1960
Identifieur interne : 000993 ( Istex/Corpus ); précédent : 000992; suivant : 000994The New Oxford History of Music, Volume X: The Modern Age, 1890–1960
Auteurs : Truman BullardSource :
- Music educators journal [ 0027-4321 ] ; 1975-10.
English descriptors
- Teeft :
- Actual classroom situations, Additional copies, Admirable aspect, Aesthetic milieu, Aesthetic reorientations, American music, Anaemic complexion, Analytical brilliance, Artistic decadence, Assiduous reader, Associate professor, Astute study, Atonal music, Authoritative discussion, Background music, Bellcraftsmen area, Best choice, Best music, Bicentennial year, Book reviews, Brilhartebolin mouthpieces, Brilliant discussion, Central europe, Chamber music orchestra, Choral music, Christmas program, Code istate, Conservative composers, Constant expansion, Contemporary concert planning, Contemporary music, Contemporary music history, Continual variation, Continuo music press, Damoiselle elue, Dickinson college, Dictation studies, Diligent application, Dodecaphony exprinciple emplifies, Dominant relationships, Doyle street doylestown, Economic problems, Edition peters, Edition peters music calendar, Elliott carter, Eminent music scholars, English history, Eternal principles, Eulenburg scores musiccalendar, European mainstream, European music publishers eulenburg pocket scores library, European publishers, Exacting tolerance levels, Expressive language, Favorite dealer, Finest book, First article, First impressions, Fluid tonality, Foloak publications, Full inscription, General editor, General survey, Genuine bach mouthpieces, Gerald chapters, Great distinction, Great moneysaver, Great virtue, Grocery shopper, Handbell design, High standards, Historical perspective, Hushed palette, Iaddress icity, Important occasion, Individual composers, Initial reading, Inspiring addition, Italian verismo, James lommason osmun, Kaleidoscopic change, Latin american music, Lengthy articles, Limited edition, Little difficulty, London symphony, Mailing list, Major book, Malmark handbells, Manufacturing methods, Martin cooper, Matt surfaces, Meaningful detail, Minor figures, Misleading impression, Model number, Modern music, Modern music scholar, Modulatory chords, Monastic tranquility, Money order, Music activity, Music britain, Music dross, Music emergence, Music examples, Music history, Music i_eulenburg anniversary brochure european publishers, Music order, Music phenomena, Music point, Music stores bane, Music world, Musical fields, Musical instruments, Mysterious femininity, Natural proclivity, Neoclassical years, Next time, Nineteenth century, Opera crowds ballet, Other activities, Other figures, Other hand, Other nations, Outlandish theories, Outstanding anniversaries, Oxford history, Oxford university press, Park avenue, Penetrating study, Peripheral nations, Peters corporation, Piano music, Points briefly, Political ideology, Preciselymachined tone chamber, Preserial music, Problems face, Progress repair, Progressive training, Provocative opinion, Public acceptance test, Rational flow, Recondite composers, Recorder guitar, Refined music gold, Relativizing influence, Reputationby deliveringfull, Resonant tone, Restoration conand, Rhythmic idiom, Richard franko, Romantic music, Ronald herder, Same sort, Serious consideration, Serious musicians, Short chapter, Short themes, Single volume, Sixth installment, Social factors, Solid surgicalsteel, Someone imitation, Sound judgment, Soviet music, Special list, Specific discussion, Specific works, Stage works, Static reading, Study scores, Stylistic, Stylistic ancestries, Stylistic characteristics, Stylistic generalizations, Stylistic meaning, Substantial issues, Such generalization, Such nationalists, Superb reproductions, Symbolist dramas, Tiniest fraction, Tonal language, Tonal structure, Triggeruniform response, Truman bullard, Uniform care, Valuable section, Vast number, Vaughan williams, Vincent bach, Vincent bach corp, Western music, Western reader, Western world, Wide selection, Wide variety, Woodwind mouthpieces, World premiere, World wars, Xavier music publishing, York state residents.
Url:
DOI: 10.2307/3394881
Links to Exploration step
ISTEX:E42B65DAFF2CC323536FDED7D960D6D561468365Le document en format XML
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New York: Oxford University Press, 1975. xix + 764 pp. Music examples, bibliography, discography. Hard cover, $25</title><respStmt><resp>Références bibliographiques récupérées via GROBID</resp><name resp="ISTEX-API">ISTEX-API (INIST-CNRS)</name></respStmt></titleStmt><publicationStmt><authority>ISTEX</authority><publisher scheme="https://publisher-list.data.istex.fr">SAGE Publications</publisher><pubPlace>Sage CA: Los Angeles, CA</pubPlace><availability><licence><p>sage</p></licence></availability><p scheme="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-0J1N7DQT-B"></p><date>1975</date></publicationStmt><notesStmt><note type="review-article" scheme="https://content-type.data.istex.fr/ark:/67375/XTP-L5L7X3NF-P">review-article</note><note type="journal" scheme="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</note></notesStmt><sourceDesc><biblStruct type="inbook"><analytic><title level="a" type="main" xml:lang="en">The New Oxford History of Music, Volume X: The Modern Age, 1890–1960</title><title level="a" type="sub" xml:lang="en">Edited by Martin Cooper. New York: Oxford University Press, 1975. xix + 764 pp. Music examples, bibliography, discography. Hard cover, $25</title><author xml:id="author-0000"><persName><forename type="first">Truman</forename><surname>Bullard</surname></persName><affiliation>Associate Professor of Music, Dickinson College, Carlisle, Pennsylvania</affiliation></author><idno type="istex">E42B65DAFF2CC323536FDED7D960D6D561468365</idno><idno type="ark">ark:/67375/M70-PWLFL3SD-V</idno><idno type="DOI">10.2307/3394881</idno><idno type="article-id">10.2307_3394881</idno></analytic><monogr><title level="j">Music educators journal</title><idno type="pISSN">0027-4321</idno><idno type="eISSN">1945-0087</idno><idno type="publisher-id">MEJ</idno><idno type="PublisherID-hwp">spmej</idno><imprint><publisher>SAGE Publications</publisher><pubPlace>Sage CA: Los Angeles, CA</pubPlace><date type="published" when="1975-10"></date><biblScope unit="volume">62</biblScope><biblScope unit="issue">2</biblScope><biblScope unit="page" from="77">77</biblScope><biblScope unit="page" to="79">79</biblScope></imprint></monogr></biblStruct></sourceDesc></fileDesc><profileDesc><creation><date>1975</date></creation><langUsage><language ident="en">en</language></langUsage></profileDesc><revisionDesc><change when="1975-10">Published</change><change xml:id="refBibs-istex" who="#ISTEX-API" when="2017-10-16">References added</change></revisionDesc></teiHeader></istex:fulltextTEI><json:item><extension>txt</extension><original>false</original><mimetype>text/plain</mimetype><uri>https://api.istex.fr/document/E42B65DAFF2CC323536FDED7D960D6D561468365/fulltext/txt</uri></json:item></fulltext><metadata><istex:metadataXml wicri:clean="corpus sage not found" wicri:toSee="no header"><istex:xmlDeclaration>version="1.0" encoding="UTF-8"</istex:xmlDeclaration><istex:docType PUBLIC="-//NLM//DTD Journal Publishing DTD v2.3 20070202//EN" URI="journalpublishing.dtd" name="istex:docType"></istex:docType><istex:document><article article-type="review-article" dtd-version="2.3" xml:lang="EN"><front><journal-meta><journal-id journal-id-type="hwp">spmej</journal-id><journal-id journal-id-type="publisher-id">MEJ</journal-id><journal-title>Music Educators Journal</journal-title><issn pub-type="ppub">0027-4321</issn><publisher>
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</publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.2307/3394881</article-id><article-id pub-id-type="publisher-id">10.2307_3394881</article-id><article-categories><subj-group subj-group-type="heading"><subject>Articles</subject></subj-group></article-categories><title-group><article-title>The New Oxford History of Music, Volume X: The Modern Age, 1890–1960</article-title><subtitle>Edited by Martin Cooper. New York: Oxford University Press, 1975. xix + 764 pp. Music examples, bibliography, discography. Hard cover, $25</subtitle></title-group>
<contrib-group><contrib contrib-type="author" xlink:type="simple"><name name-style="western"><surname>Bullard</surname><given-names>Truman</given-names></name><aff>Associate Professor of Music, Dickinson College, Carlisle, Pennsylvania</aff></contrib></contrib-group>
<pub-date pub-type="ppub"><month>10</month><year>1975</year></pub-date><volume>62</volume><issue>2</issue><fpage>77</fpage><lpage>79</lpage><custom-meta-wrap><custom-meta xlink:type="simple"><meta-name>sagemeta-type</meta-name><meta-value>Reviews</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value> book reviews The New Oxford History of Music, Volume X: The Modern Age, 1890-1960. Edited by Martin Cooper. New York: Oxford University Press, 1975. xix + 764 pp. Music examples, bibliography, discography. Hard cover, $25. The publication of a new major book on contemporary music is always an important occasion, for it is through the best thought of eminent music scholars, teachers, and critics that a historical perspective gradually transforms the vast and confusingly diverse literature of music into a rational flow of stylistic meaning. The difficulties in writing contemporary music history must be remembered and appreciated. Martin Cooper suggests in his introduction that the greatest present threat to the integrity of music is its very availability as a piped-in background to other activities. Two related problems face the historian of modern music. Unlike earlier times, new published music, both good and bad, is preserved with uniform care by all libraries that aspire to comprehensiveness, and this form of accessibility unwittingly tends to bring the same sort of relativizing influence to the historian that background music does to the grocery shopper. On the other hand, the “world premiere” syndrome of contemporary concert planning combined with all-too-familiar economic problems have worked to prevent all but the tiniest fraction of new scores from receiving more than one or two performances, not to mention recordings. Therefore, the modern music scholar, while surfeited with scores, is deprived of repeated exposures to new compositions and to the public acceptance test that traditionally has refined music gold from music dross. In reading this volume, I am struck by the acuity of the authors' insights in spite of these handicaps. The book, the sixth installment of a projected eleven-volume series, consists of eight lengthy articles by seven distinguished scholars. Gerald Abraham's chapters on “The Apogee and Decline of Romanticism, 1890-1914” and “The Reaction Against Romanticism” open the book with great distinction. Beginning in central Europe and expanding to the peripheral nations, Abraham focuses in his first article on the stylistic ancestries and characteristics of the masters and then points briefly to minor figures. The chapter concludes with a penetrating study of the causes and manifestations of the artistic decadence that Romantic music had reached even before the outbreak of war in 1914. There is a natural proclivity among historians to concentrate on the birth of movements and the emergence of new styles. The great virtue of this chapter is that it presents a serious and astute study of the best music in an era of decline, at which time the resources of tonal language had been depleted and the coherence of tonal structure had been lost through constant expansion. This chapter and the following one, which does turn to the dawn of a new music order, form worthy sequels to Abraham's A Hundred Years of Music, still the finest book written on the nineteenth century. After two chapters about music in Europe between 1890 and 1914, it is surprising, in a single volume devoted to a survey of the entire modern age, to find yet another chapter devoted to the era. Martin Cooper, the general editor, has written “Stage Works: 1890-1918” on the history of opera and ballet on the continent from the Strauss of f/e/ctra, through Italian ve-rismo and such nationalists as Rimsky-Korsakov and Janacek, to the symbolist dramas of France and the less familiar operas of art nouveau. In terms of emphasis, opera crowds ballet off the stage, but Cooper is consistently successful in relating specific works to the aesthetic milieu and goals of a given movement, as in the following passage: Debussy had already shown in his cantata La Damoiselle elue his sympathy with the ideals of the English Pre-Raphaelites, which were at the root of art nouveau— the freely flowing, plant-like arabesque, the sinuous and mysterious femininity whose misleadingly “chaste” contours and anaemic complexion barely conceal a sophisticated sensuality, and the hushed palette and matt surfaces that veil an equally misleading impression of monastic tranquility. Music on the continent of Europe 175th ANNIVERSARY BROCHURE combining historical data on the 175-year C. F.Peters Music Publishing Tradition with listings in all musical fields of over 1,000 Classical / Contemporary publications SELECTED MUSIC OF EUROPEAN PUBLISHERS over 500 publications in all musical fields (including Recorder & Guitar) from the catalogs of twenty - two respected European music publishers EULENBURG POCKET SCORES LIBRARY includes study scores from Edition Peters and various other leading publishers in addition to over 2,000 Eulenburg scores MUSIC CALENDAR A most welcome annual gift containing 29 superb reproductions of works of art concerned primarily with composers, musical instruments and manuscripts. In connection with the Bicentennial year, the 1976 calendar is dedicated to American art. Important musical events associated with each day of the year are listed on the reverse of each page, and at special list of outstanding anniversaries is also included. Limited Edition 7 x 10 inches $4.50 29 illustrations C. F. PETERS CORPORATION 373 PARK AVENUE SOUTH NEW YORK, NEW YORK 10016 Please send copies of the 1976 Edition Peters Music Calendar.i 1 Also, please send your catalogue for Chamber Music __Orchestra Choral Music __Piano Music Eulenburg __Vocal Music __Anniversary Brochure __European Publishers I Name__________________________ I Address ________________________ I City_______ l State Zip Code (New York State Residents, please include 8% tax) Please check here if you would like to be on our mailing list___ mej/oct 75 77 Most musicians recognize the Bach as the finest mouthpiece you can buy. That's probably why someone is always trying to duplicate it. There are two reasons why Bach is your best choice. First is the wide selection of mouthpieces available. 237 of them. Second, thanks to our tooling and manufacturing methods, we're able to maintain exacting tolerance levels. And live up to the high standards of excellence which Vincent Bach established years ago. So next time you select a mouthpiece, look at it carefully. Only genuine Bach mouthpieces bear the full inscription “Vincent Bach Corp.,” together with the model number, on the outside of the cup. If the mouthpiece doesn't have this inscription, it's someone else's imitation. Elkhart, Indiana MALMARK HANDBELLS New concepts in handbell design tuning and performance MALMARK, INC BELLCRAFTSMEN One Hundred Doyle Street Doylestown, Pennsylvania 18901 Area 215/345-9343 o no o Absolutely everything on the repair, set-up, restoration & construction of acoustic & electric guitars. Hundreds of illustrations. A great moneysaver. A must for every true guitarist. 174 pgs. At local music stores or send $6.95 to OAK PUBLICATIONS, Dept. MEJ, 33 W. 60th St., New York, N.Y. 10023 between the world wars is the subject of Mosco earner's enormous chapter of almost two hundred pages. This section, together with Peter Evans' “Music of the European Mainstream, 1940-1960,” form the central and most valuable section of the volume. The emergence of Stravinsky's music thought and art from the aesthetic reorientations of Debussy is lucidly traced work by work. You come to understand from a music point of view the meaning and legitimacy of Stravinsky's seemingly outlandish theories and postures during his neoclassical years. Carner also excels in his ability to summarize in meaningful detail the stylistic characteristics of composers whose styles seem to defy such generalization, as shown in his comments on Janacek: The characteristic features of Janacek's language are an aphoristic melodic utterance and a kaleidoscopic change of short themes and motives; a continual variation of the melodic and rhythmic material; an elliptical harmony in which modulatory chords are abolished; a fluid tonality which is largely modal and avoids tonic/ dominant relationships and the leading-note; and a rhythmic idiom in which the employment of the smallest metric units (2/8, 3/8) is very prominent. Peter Evans' chapter is the best annotated of all, and his brilliant discussion of composers between 1940 and 1960 on the continent requires the diligent application of your mind and ear. Evans demonstrates the continuity of Stravinsky's progress to seri-alism and proves that the ordering principle that dodecaphony exemplifies was already present in the preserial music of The Rake's Progress and the Septet. Evans' treatment of Hindemith is unnecessarily snide (the composer “had little difficulty in accepting his own arguments as eternal principles”), but his discussion of Messiaen, Boulez, Stockhausen, and other figures is cogent and rewarding to the assiduous reader. Perhaps the most admirable aspect of Evans' approach is that even with the most recondite composers, his stylistic generalizations are convincing in that they spring from the serious and specific discussion of music phenomena. It is unfortunate that both Arthur Hutchings' “Music in Britain, 1916-1960” and Richard Franko Goldman's “American Music, 1918-1960” must follow the work of Carner and Evans. In a more modest and general survey of music history, both chapters would strike you as interesting and urbane. Here the analytical brilliance of what has gone before makes what follows appear shallow and unchalleng-ing by comparison. Hutchings writes impressionistically about his country- 78 mej/oct 75 men and, more often than not, evades substantial issues, recapitulates familiar judgments on individual composers, and renders impossible the serious consideration of such difficult figures as Tippett and Davies. He writes, “In A London Symphony we encounter… a quality which became all-pervading in Vaughan Williams and may be called remoteness.” It is regrettable that this English history of Western music missed an opportunity to deal deeply and perceptively with its own art. Goldman's chapter on American music is similarly breezy and summary in style, but the author successfully describes the effects on composition of the economic, political, and social factors rising out of the wars and the depression. Goldman is most comfortable with conservative composers; his treatment of Elliott Carter, for instance, is respectful but not illuminating. After an embarrassingly short chapter on Latin American music (four pages), the book is brought to a close by Abraham with an authoritative discussion of Soviet music in which a vast number of composers and works are treated critically. In this chapter, the Western reader is immediately struck by the enormity of the impact of political ideology on music activity. Abraham clearly demonstrates the gulf that separates two figures, Prokofiev and Shostakovich, from virtually all their colleagues. Had it been possible to point to two or three figures in other nations of the Western world as preeminent as Prokofiev and Shostakovich, this book would have been easier to write, but it would have been far less stimulating to read. There is a wealth of insight and provocative opinion to be found in this volume, and its importance to our music world, which continues to seek a meaningful, expressive language, cannot be overestimated.— Truman Bullard, Associate Professor of Music, Dickinson College, Carlisle, Pennsylvania </meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>The New Oxford History of Music, Volume X: The Modern Age, 1890–1960</title><subTitle>Edited by Martin Cooper. New York: Oxford University Press, 1975. xix + 764 pp. Music examples, bibliography, discography. 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