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Contemporary Composers on Contemporary Music (Da Capo Press music reprint series) Hardcover – November, 1978

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--This text refers to the Paperback edition.

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Editorial Reviews

Amazon.com Review

Contemporary Composers on Contemporary Music first appeared in 1967 and immediately became a standard for those with an interest in what--in our time--has come to be known as "music of our time." Even three decades ago it was a bit disingenuous to call some of these interviews and essays "contemporary"; it's been a while since Ferruccio Busoni (1866-1924), Claude Debussy (1862-1918), or Erik Satie (1866-1925) could properly be thought of as contemporary or even recent. A better title back then and certainly now might have been 20th-Century Composers on 20th-Century Music. Still, Debussy's section is invaluable, not least for its humor, and if there are a few musical frauds represented in these pages, there is also plenty of useful information and insight into the thought processes of significant composers of the last few decades. But a number of important composers, including Philip Glass, are noticeably absent while far more obscure musicians get the full treatment. The editors' tastes run to serialism, electronic music, and other more dissonant, less traditionalist, and less tonal trends. And since the range of contributors is broad, the quality of the essays and interviews is at times inconsistent. Still, particularly with this expanded edition, Contemporary Composers on Contemporary Music remains an important work for those concerned with what the editors call "new attitudes" in serious music. --Sarah Bryan Miller --This text refers to the Paperback edition.

About the Author

Elliott Schwartz has been a featured guest composer throughout the U.S. and Europe, and has held extended residencies at the University of California, Ohio State University, and Cambridge University. He is the author of Music Since 1945: Issues, Materials, and Literature (with Daniel Godfrey) and is the Robert K. Beckwith Professor of Music at Bowdoin College. Barney Childs is the cofounder of Advance Recordings, former poetry editor of Genesis West, and a contributor to Perspectives of New Music and other journals. His music has been performed at the ONCE Festival and Tanglewood. He is Professor Emeritus at Johnston College, University of Redlands. Jim Fox is a Los Angeles-based composer and co-publisher of Silman-James Press.
--This text refers to the Paperback edition.
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Product Details

  • Series: Da Capo Press music reprint series
  • Hardcover: 392 pages
  • Publisher: Da Capo Pr (November 1978)
  • Language: English
  • ISBN-10: 0306775875
  • ISBN-13: 978-0306775871
  • Product Dimensions: 1.2 x 6.5 x 9.5 inches
  • Shipping Weight: 1.8 pounds
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Best Sellers Rank: #7,967,543 in Books (See Top 100 in Books)

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Most Helpful Customer Reviews

By Loxias on November 26, 2012
Format: Paperback Verified Purchase
This collection of essays, speeches, and excerpts is great if you're into contemporary music. As a classically trained musician, I fully understand and appreciate everything this book has to offer. Not everything in this collection is spectacularly interesting, but it is a great collection. Probably not something that the average amateur musician will find particularly enthralling, but there may be some who find it particularly interesting.
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Format: Kindle Edition Verified Purchase
This is my first ebook purchase, but I was shocked at the amount of spelling errors in the text. Eric Satle? Really? REALLY?

The book itself is fascinating. Nice collection and variety of viewpoints. Always read these accounts with a grain of salt...biased opinions, cultural restrictions, and what have you. But they're great for getting a sense of these composers as people in their time, their personalities, and what they find important in music.
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Format: Paperback Verified Purchase
A very nice compilation of essays, speeches, and excerpts. Definitely worth a read if you're interested in composition, later 20th century music, or just music in general. Some essays are insightful, and some are... not, but that's to be expected when you get artists together into one "place."
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