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Postmodern Music/Postmodern Thought (Studies in Contemporary Music and Culture) Paperback – November 9, 2001

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Postmodern Music/Postmodern Thought (Studies in Contemporary Music and Culture) + Postmodernism in Music (Cambridge Introductions to Music) + Modern Music and After
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Product Details

  • Series: Studies in Contemporary Music and Culture (Book 4)
  • Paperback: 350 pages
  • Publisher: Routledge (November 9, 2001)
  • Language: English
  • ISBN-10: 0815338201
  • ISBN-13: 978-0815338208
  • Product Dimensions: 6 x 0.9 x 9 inches
  • Shipping Weight: 1.4 pounds (View shipping rates and policies)
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #1,185,416 in Books (See Top 100 in Books)

Editorial Reviews

About the Author

Joseph Auner is Associate Professor of Music at the State University of New York, Stony Brook and General Editor of Garland's Studies in Contemporary Music and Culture series. Judy Lochhead is Associate Professor of Music at SUNY Stony Brook.

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Most Helpful Customer Reviews

3 of 14 people found the following review helpful By scarecrow VINE VOICE on September 20, 2004
Format: Paperback
Music is always behind in theory,in cultural critique, in appraisals of its theoretical implications. Simpy compare the art world in the level of discussion and dialogue with the corridors of serious music, and you will find a large gulf.
The Impressionists,the Expressionists eras were over before music caught up with the conceptual trajectories that produced this art.Not that I adhere to strict categorical paralleles for it does have its conceptual limitations.But music seems mired in itself, and it has only bee recently(the last ten years) where we even find writers finding useful parallels from music to social dimensions, culture or politics.And there is no excuse for it with perceptive writers as Theodor Adorno and Pierre Bourdieu to lead the way. For instance we have musicologists today that are still contemplating the "mysterious" harmonic schemes of Wagner's prelude to "Tristan und Isolde",or finding the "golden circles through set theory with differeing pitch configurations while in the other arts vigorous fascinating work abound in theory,in concept,in technique in dialogues in discussion of the lifeworld interbreed with philosophy and culture where we may find where the limits of post-modernity reside.
So this is a welcome book if only because it helps situate music a realm even the likes of Lyotard and Jameson hardly speak about, or only as generally and opaque as possible.It hasn't been since Jacques Attali(a relative novice in music) where his book "Noise" we have some all-encompassing subversive, drawing in categories of the economic, production,and composition.
So What is post-modern music?,it really doesn't matter anymore, and when it did the various music scholars were silent, or confused, or both.
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