Twentieth Century Music
Identifieur interne : 001717 ( Istex/Corpus ); précédent : 001716; suivant : 001718Twentieth Century Music
Auteurs : Marvin AdlerSource :
- Music educators journal [ 0027-4321 ] ; 1969-09.
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DOI: 10.2307/3392623
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ISTEX:4C83B876E44B7BDCE878EC92DA57500E2B4BC81BLe document en format XML
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H. Stuckenschmidt. Translated by Richard Deveson. New York: The McGraw-Hill Book Company, 1969. 249 pp., Photographs, Illustrations, Chronology. Soft cover, $2.45</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>1969</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">Twentieth Century Music</title><title level="a" type="sub" xml:lang="en">By H. H. Stuckenschmidt. Translated by Richard Deveson. New York: The McGraw-Hill Book Company, 1969. 249 pp., Photographs, Illustrations, Chronology. Soft cover, $2.45</title><author xml:id="author-0000"><persName><forename type="first">Marvin</forename><surname>Adler</surname></persName><affiliation>Teachers College, Columbia University, New York City 10027.</affiliation></author><idno type="istex">4C83B876E44B7BDCE878EC92DA57500E2B4BC81B</idno><idno type="ark">ark:/67375/M70-068Q2B0B-R</idno><idno type="DOI">10.2307/3392623</idno><idno type="article-id">10.2307_3392623</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="1969-09"></date><biblScope unit="volume">56</biblScope><biblScope unit="issue">1</biblScope><biblScope unit="page" from="97">97</biblScope><biblScope unit="page" to="98">98</biblScope></imprint></monogr></biblStruct></sourceDesc></fileDesc><profileDesc><creation><date>1969</date></creation><langUsage><language ident="en">en</language></langUsage></profileDesc><revisionDesc><change when="1969-09">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/4C83B876E44B7BDCE878EC92DA57500E2B4BC81B/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">10.2307/3392623</article-id><article-id pub-id-type="publisher-id">10.2307_3392623</article-id><article-categories><subj-group subj-group-type="heading"><subject>Articles</subject></subj-group></article-categories><title-group><article-title>Twentieth Century Music</article-title><subtitle>By H. H. Stuckenschmidt. Translated by Richard Deveson. New York: The McGraw-Hill Book Company, 1969. 249 pp., Photographs, Illustrations, Chronology. Soft cover, $2.45</subtitle></title-group>
<contrib-group><contrib contrib-type="author" xlink:type="simple"><name name-style="western"><surname>Adler</surname><given-names>Marvin</given-names></name><aff>Teachers College, Columbia University, New York City 10027.</aff></contrib></contrib-group>
<pub-date pub-type="ppub"><month>09</month><year>1969</year></pub-date><volume>56</volume><issue>1</issue><fpage>97</fpage><lpage>98</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> TWENTIETH CENTURY MUSIC. By H. H. Stuckenschmidt. Translated by Richard Deveson. New York: The McGraw-Hill Book Company, 1969. 249 pp., Photographs, Illustrations, Chronology. Soft cover, 2.45. Unlike some books on twentieth-century music that read like second and third drafts of one another—including some recent ones—Twentieth Century Music by H. M. Stuckenschmidt contains many entirely fresh points of view within the brief span of its 249 pages. The usually cited principal innovators in twentieth-century music-Debussy, Schoenberg, and Stravinsky —are joined by Strauss and Scriabin. In contrast to the treatment of Richard Strauss in many standard texts, such as those by Bauer, Demuth, Machlis, Austin, and Hanson, Stuckenschmidt gives Strauss much credit for emancipating dissonance from the rules of tonality. While enjoying almost unparalleled success in the concert hall, Strauss for too many years was depicted in textbooks as a decadent late-Romantic, picking up the pieces of Wagner's musical vocabulary and throwing them together to form a sensual, expressionistic, musical imitation of knives, forks, sheep, and windmills. At last this myth is exposed. Perhaps from now on, Strauss's role in the history of music will be honored, as his music has been honored by popularity in the concert hall. (The same has yet to be done for Delius, Prokofiev, and Tchaikowsky.) In the case of Scriabin, the Russian mystic is not only given credit for his “mystical chord” but depicted as the futurist of all futurists—harmonic innovator, pantheist, and the precursor of all that we now loosely call “psychedelic: colored lights, scents, and even physical contact. The book is not organized chronologically, nor even in terms of the now fashionable “crises” of melody, rhythm, and harmony. The chapters are entitled “Noise and Timbre,” “Romanticism and Anti-Romanticism,” “Emancipation,” “Simultaneity,” “New Means of Organization,” “Revisions and Reversions,” “The Music of Commitment,” “Folk Music and Exotic Music,” “Technical Sound Material,” “Mathematics—For and Against,” “Years of Experiment,” and “Consolidation.” While not all of the above chapters seem as intriguing as others, even the ostensibly ordinary chapters contain novel slants on twentieth-century musical thought, happenings, and compositions. For example, in the chapter “Mathematics—For and Against,” one does not read the same hackneyed arguments over unfeeling, cerebral music. Rather, there is an anecdote about Gershwin's study with Schillinger, and how Schillinger watched over Gershwin's completion of Porgy and Bess, supplying lessons on retrograde-inversion and “mirror-form technique” from his music-technological theory. In this same chapter, those uninitiated to Schillinger's system will find an interesting synopsis of its main SEPTEMBER, NINETEEN SIXTY-NINE 97 Elementary lMusic Educators One source for your music orders The following lists are available from EMP (please check): ? Purchasers’ Guide (specialized and supplementary materials) ? Choral Listings ? Band Name————————————————————————————, Address,. 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With profound insight, Stuck-enschmidt criticizes what he calls Schillinger's “naive” comments on Bach's F Major Two Part Invention, explains how the term “parameter” is often used incorrectly, and relates how Stockhausen's Studie II uses diagrammatic notation invented by Schillinger and reproduced in Schillinger's magnum opus. In the chapter entitled “Years of Experiment,” Stuckenschmidt does more than describe trends. He thoroughly contrasts musical philosophies such as those of Cage and Boulez. As is mostly the case in other chapters, facts are presented with the utmost clarity. From this philosophical-historical discussion, one extracts the meaning and origin of the term “aleatoric,” its translation from the Latin for dice, and its genesis from Boulez's essay Alea in 1958. Stuckenschmidt points out that Boulez's Third Piano Sonata is aleatoric because it “absorbs” elements of chance. Often, the term “aleatoric” is used incorrectly to describe music based exclusively on chance. No trite, worn-out phrases appear in this book—not about music, nor about musical aesthetics, nor about music's relationships to the other arts, technology, or economics. This is more than simply a book on music or on music education—it is both. Music is paramount, but it does not remain unrelated to significant trends in art, literature, and philosophy. Trends, however, are not dragged in for the sake of “related arts” or for the sake of the hobbyhorse “music as one of the humanities.” For example, Debussy did not like to be called an Impressionist. But Stuckenschmidt shows how Debussy's titles reflect Impressionist thinking, how his music tends to evoke rather than depict, all the time being careful to describe Debussy's music in completely musical terms, not as glassy, shimmering musical pastels. Because of its nonchronological format, perhaps this should not be a first book on twentieth-century music. Those by Hanson and Salzman might be read first, but this book should be read quickly afterwards. It is not a nationalistic book and avoids the pitfalls and biases of those that are, such as the excellent but somewhat anti-German volume by Demuth. A few words must be said about the translation. To say that it is excellent would be an understatement. Too often in the past, heavy Germanic sentence structure has remained impenetrable in translation. Whatever Deveson did to overcome this problem, he did brilliantly.—Marvin Adler, Teachers College, Columbia University, New York City 10027. </meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Twentieth Century Music</title><subTitle>By H. H. Stuckenschmidt. Translated by Richard Deveson. New York: The McGraw-Hill Book Company, 1969. 249 pp., Photographs, Illustrations, Chronology. 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