Music in the Early Twentieth Century
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Contents
Music in the Early Twentieth Century- Contents
- Preface
- Chapter 1 Reaching (for) Limits
- Chapter 2 Getting Rid of Glue
- Chapter 3 Aristocratic Maximalism
- Chapter 4 Extinguishing the “Petty ‘I’ ” (Transcendentalism, I)
- Chapter 5 Containing Multitudes (Transcendentalism, II)
- Chapter 6 Inner Occurrences (Transcendentalism, III)
- Rejecting Success
- Expression Becomes an “Ism”
- Art and the Unconscious
- “Emancipation of Dissonance”
- Theory and Practice
- Atonality?
- “Contextuality”
- Tonal or Atonal?
- A Little “Set Theory”
- Grundgestalt
- Psychological Realism
- Atonal Triads
- Crossing the Cusp
- Musical Space
- “Brahminism” Revisited
- Maxing Out
- At the Opposite Extreme
- The Ivory Tower
- Epilogue: How Myths Become History
- Schoenberg’s Brahms
- Ontogeny Becomes Phylogeny
- “Motivicization” in Practice
- Chapter 7 Social Validation
- Chapter 8 Pathos Is Banned
- Chapter 9 Lost—or Rejected—Illusions
- Breaching the Fourth Wall
- Art as Plaything
- A New Attitude Toward the “Classics”?
- “How” Vs. “What”
- Putting Things “in Quotes”
- Irony and Social Reality
- “Americanism” and Media Technology
- Music for Political Action
- Righteous Renunciation, or What?
- New-Morality Plays
- The Death of Opera?
- From Vienna to Hollywood
- A New Stile Antico?
- Chapter 10 The Cult of the Commonplace
- Chapter 11 In Search of the “Real” America
- Chapter 12 In Search of Utopia
- Chapter 13 Music and Totalitarian Society
- Art Credits
- Further Reading
