This book began as an attempt to carry out a suggestion made in 1929 by Carl Engel in his "Views and Reviews"-to fulfill his wish for " a living record of musical personalities, events, conditions, tastes ...a history of music faithfully and entirely carved from contemporary accounts.
Twentieth-century music has been described as complex, vital, diverse, uncertain, experimental, self-conscious, innovative-the list is long and growing. Composers have been both credited with and accused of always searching for something "new," writing works that are mechanistic but romantic, meaningful but unskilled, beautiful but ugly! In The Twentieth Century, Robert P. Morgan helps us grasp the flavor of the era by presenting forty-five readings from the period, nearly all written by active participants in the musical developments of the time. Thus we tune in to the voices of some thirty composers-from Busoni to Babbitt, Ives to Xenakis, Satie to Stravinsky-and learn from performers Anderson and Landowska, philosopher-critics Adorno, Dahlhaus, and Meyer, and writers Cocteau, Barthes, and Eco.
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About the Author
Leo Treitler, Distinguished Professor of Music at the City University of New York, is the author of Music and the Historical Imagination, as well as other books and articles on music historiography and medieval music.
Robert P. Morgan, historian, composer, and theorist, received his Ph.D. from Princeton University and is currently on the music faculty at Yale University.
Robert P. Morgan, historian, composer, and theorist, received his Ph.D. from Princeton University and is currently on the music faculty at Yale University.
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This review is from: Strunk's Source Readings in Music History: The Twentieth Century (Revised Edition) (Vol. 7) (Source Readings Vol. 7) (Paperback)
Like the previous 6 volumes in this series, vol. 7 is the definitive collection of musical essays from this time period. Deciding what to include in this volume must have been a very difficult task since there is so much more material available from the 20th century than from previous time periods; and since the editors produced this volume so chronologically near the 20th century, it is impossible to know which readings will "stand the test of time." Yet Robert Morgan has done an outstanding job editing this volume (and Leo Treitler as general editor) to include a wide range of relavent materials. This is an excellent resouce for anyone who wants to learn more (or teach) about music in the 20th century. Don't try to read it front to back. Instead, read whichever essays look most interesting to you first, and save the rest until they become those that look the most interesting.
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