NEW MUSIC AND AESTHETICS
IN THE 21ST CENTURY
edited by Claus-Steffen Mahnkopf,
Frank Cox, and Wolfram Schurig
Vol. 3: Claus-Steffen Mahnkopf (ed.)
The Foundations of Contemporary Composing
€ 22.–, 978-3-936000-14-6
order online
Inhaltsübersicht
The Foundations of Contemporary Composing
New Music and Aesthetics in the 21st Century, Vol. 3
The goal of this volume is to appraise, on a theoretical and artistic level, the foundations of contemporary composition, whereby by “contemporary” the recent past and direct present was understood. The following reasons were decisive in choosing this topic: a) the musicological research in the domain of new music is concentrated on the now historical period from ca. 1950 to 1970; b) writings about contemporary music since the 1980s have been increasingly lacking in serious reflection and theoretical perspective; c) a clearly perceptible transformation from a First to a “Second Modernity,” obscured by the postmodern phenomenon and now awaiting serious critical appraisal, should be supported, above all in view of its artistic and creative potentials; and d) finally, the increasing pluralization of the discourse of contemporary composition demands a dialogical confrontation of divergent approaches.
In The Foundations of Comtemporary Composing, composers and musicologists, along with one philosopher and one interpreter explore the terrain of contemporary composition in a systematic fashion. These researches are presented in four sections: categories (progress, reflection, deconstruction, conceptuality), material and form (harmony, polyphony, spectralism), technology (algorithmic and electroacoustic composition, sound composition), and interdisciplinary reflection/contemporary performance practice. The contributors to this volume are the following: Mark André, Sebastian Claren, Frank Cox, Gunnar Hindrichs, Wieland Hoban, Claus-Steffen Mahnkopf, Barbara Maurer, Johannes Menke, Chris Mercer, Nicola Sani, Anne Sedes, and Steven Kazuo Takasugi.
In English, with musical examples 200 p., Pb.,The goal of this volume is to appraise, on a theoretical and artistic level, the foundations of contemporary composition, whereby by “contemporary” the recent past and direct present was understood. The following reasons were decisive in choosing this topic: a) the musicological research in the domain of new music is concentrated on the now historical period from ca. 1950 to 1970; b) writings about contemporary music since the 1980s have been increasingly lacking in serious reflection and theoretical perspective; c) a clearly perceptible transformation from a First to a “Second Modernity,” obscured by the postmodern phenomenon and now awaiting serious critical appraisal, should be supported, above all in view of its artistic and creative potentials; and d) finally, the increasing pluralization of the discourse of contemporary composition demands a dialogical confrontation of divergent approaches.
In The Foundations of Comtemporary Composing, composers and musicologists, along with one philosopher and one interpreter explore the terrain of contemporary composition in a systematic fashion. These researches are presented in four sections: categories (progress, reflection, deconstruction, conceptuality), material and form (harmony, polyphony, spectralism), technology (algorithmic and electroacoustic composition, sound composition), and interdisciplinary reflection/contemporary performance practice. The contributors to this volume are the following: Mark André, Sebastian Claren, Frank Cox, Gunnar Hindrichs, Wieland Hoban, Claus-Steffen Mahnkopf, Barbara Maurer, Johannes Menke, Chris Mercer, Nicola Sani, Anne Sedes, and Steven Kazuo Takasugi.
€ 22.–, 978-3-936000-14-6
order online
Inhaltsübersicht