With this brave new book, James McHard pulls away all the negativity shrouding the word "modern" in the realm of classical music. Through a skilled analysis of prominent composers from 1890 to the present, along with their musical styles, philosophies, and incentives, McHard reveals modern music as the "fully enriched and enriching listening experience" that it is.
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" . . . your book is a lesson in musical history; it is also a study of artistic integrity and ethical courage." -- Gerard Pape, Lacanian psychologist Ph.D., Director of Studio "Les Ateliers UPIC", the Studio Founded and Operated by the Greek Architect & Composer, Iannis Xenakis
". . . As a scholar and as a composer I thank you for the extraordinary work you have done on your book . . . -- -Julio Estrada, Professor of advanced composition at UNAM (Universidad Autonoma de Mexico), and director of the institute of aesthetics; composer.
". . . As a scholar and as a composer I thank you for the extraordinary work you have done on your book . . . -- -Julio Estrada, Professor of advanced composition at UNAM (Universidad Autonoma de Mexico), and director of the institute of aesthetics; composer.
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4.0 out of 5 stars
insightful; cursory at times philosophically,
By Mike Leahy (San Luis Obispo, CA USA) - See all my reviews
This review is from: The Future of Modern Music: A Vibrant New Modernism in Music for the Future (Paperback)
The Future of Modern Music (TFMM) highlights the tradition and changing role of modernity in classical music of the 20th century. As a student participant of the 2001 summer CCMIX program ... I firsthand gained from the pedagogy founded on sound based composition which is the focus of both CCMIX and McHard's book. .... I categorize TFMM as a book that attempts to place the compositional modernity of the last century into a hyper modern role in the present. By hyper modernity I posit that TFMM supports the Western assumption that the detached theoretical viewpoint is superior to the involved practical viewpoint. Nevertheless, TFMM succeeds in relating the important transitions that classical music has made in the 20th century and is a worthy book to read especially for the classical listener who is not familiar with the advances of composition in this past century.
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