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Libri sul tema "Avant-garde (music)"

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Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 29 luglio 2024

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1

Duteurtre, Benoît. Requiem pour une avant-garde. Paris: R. Laffont, 1995.

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2

Robert, Adlington, a cura di. Otherwise engaged: Avant-garde music and the sixties. New York: Oxford University Press, 2008.

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3

Duteurtre, Benoît. Requiem pour une avant-garde: Essai. Paris: Les Belles Lettres, 2006.

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4

Larry, Austin, e Kahn Douglas 1951-, a cura di. Source: Music of the avant-garde, 1966-1973. Berkeley: University of California Press, 2011.

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5

Larry, Austin, e Kahn Douglas 1951-, a cura di. Source: Music of the avant-garde, 1966-1973. Berkeley: University of California Press, 2011.

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6

The new music: The avant-garde since 1945. 2^a ed. Oxford [Oxfordshire]: Oxford University Press, 1987.

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7

Sitsky, Larry. Music of the repressed Russian avant-garde, 1900-1929. Westport, Conn: Greenwood Press, 1994.

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8

Cohen, Brigid Maureen. Stefan Wolpe, music and the twentieth-century avant-garde. New York: Cambridge University Press, 2012.

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9

Mayer, Günter. Musik-Avantgarde: Zur Dialektik von Vorhut und Nachhut ; eine Gedankensammlung für Günter Mayer zum 75. Geburtstag. Oldenburg: Bis-Verlag der Carl von Ossietzky Universität Oldenburg, 2006.

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10

Gallo, Guadalupe. Gestionar, mezclar, habitar: Claves en los emprendimientos musicales contemporáneos. Ciudad Autónoma de Buenos Aires: Gorla, 2017.

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11

Anderson, Virginia DeVere. British experimental music: Cornelius Cardew and his contemporaries : facsimile of a M.A. thesis. [S.l.]: Experimental Music Catalogue, 2000.

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12

Piekut, Benjamin. Experimentalism otherwise: The New York avant-garde and its limits. Berkeley: University of California Press, 2011.

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13

Experimentalism otherwise: The New York avant-garde and its limits. Berkeley: University of California Press, 2011.

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14

1951-, Kahn Douglas, e Whitehead Gregory, a cura di. Wireless imagination: Sound, radio and the avant-garde. Cambridge, MA: MIT Press, 1994.

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15

Klemm, Eberhardt. Spuren der Avantgarde: Schriften 1955-1991. Köln: MusikTexte, 1997.

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16

A, Bonfantini Massimo, e Vitali Marco, a cura di. Dissonanzen: Note dall'avanguardia. Napoli: Edizioni scientifiche italiane, 1996.

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17

Alwes, Chester Lee. A history of Western choral music: Romanticism through the avant-garde. New York, NY: Oxford University Press, 2016.

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18

Pelé, Gérard. Inesthétiques musicales au XXe siècle. Paris: Harmattan, 2007.

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19

Ludger, Brümmer, e Tutschku Hans 1966-, a cura di. Aventures d'écoute: Adventures of listening = Abenteuer des Hörens. Wien: Verlag Der Apfel, 2020.

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20

Landy, Leigh. Experimental music notebooks. Chur, Switzerland: Harwood Academic Publishers, 1994.

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21

Guttmann, Clegg &. Decomposition <=> reconstitution, Berlin 1918: Anti-capitalism, avant-garde art, atonal music. Köln: Galerie Christian Nagel, 2003.

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22

Maconie, Robin. Avant Garde. Scarecrow Press, Incorporated, 2012.

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23

May. Avant Garde Choral Music. Rowman & Littlefield Publishers, 2002.

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24

Dickinson, Kay, Thomas Burkhalter e Benjamin J. Harbert. Arab Avant-Garde: Music, Politics, Modernity. Wesleyan University Press, 2013.

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25

Dickinson, Kay, Thomas Burkhalter e Benjamin J. Harbert. Arab Avant-Garde: Music, Politics, Modernity. Wesleyan Methodist Church in Australia, The, 2013.

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26

SCHECHNER, Richa. DECLINE & FALL OF THE AVANT GARDE. Routledge, 2008.

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27

Lysaker, John T. Music for Airports and the Avant-Garde. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190497293.003.0003.

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Abstract (sommario):

Chapter 2 places Music for Airports within the context of a “sonic turn” that occurs among various avant-garde trends in twentieth-century Euro-American music. A brief history begins with Debussy, accelerates with musique concrète and John Cage’s regard for the activity of sounds, and closes with consideration of La Monte Young and Terry Riley. The chapter insists that this history, in its technological and compositional advances, makes the experiments on Music for Airports possible. Ongoing references to chapter 1’s observations concretize the album’s relation to the Euro-American avant-garde.

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28

Sitsky, Larry. Music of the Twentieth-Century Avant-Garde. Greenwood Publishing Group, Inc., 2002. http://dx.doi.org/10.5040/9798400688782.

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Abstract (sommario):

Presenting a view of the 20th-century music avant-garde without resorting to highly specialized jargon, this work offers an exhaustive history and analysis of contemporary music in a social, political, and artistic context. Distinguished contributors from around the world consider specific composers who represent the most progressive musical thinking of their time and place. Editor Larry Sitsky, an eminent Australian composer and teacher, has assembled an accessible, unique, and clearly written collection. Also exploring the links among this diverse group of composers, the guide offers a cross-index of names that will help the researcher formulate a cohesive view of the 20th-century avant-garde. A bibliography and list of selected works round out the volume, which succeeds in demystifying an area that, until now, has been the exclusive province only of the specialist.

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29

LEI JIN NA DE ?SHI MI SI ?BU LIN DE ER. new music: The avant-garde since 1945. Unknown, 1991.

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30

The Arab Avant-Garde: Music, Politics, Modernity (Music / Culture). Wesleyan University Press, 2013.

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31

Adlington, Robert. Sound Commitments: Avant-Garde Music and the Sixties. Oxford University Press, Incorporated, 2009.

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32

Adlington, Robert. Sound Commitments: Avant-Garde Music and the Sixties. Oxford University Press, 2009.

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33

Lucier, Alvin. Music 109: Notes on Experimental Music. Wesleyan University Press, 2014.

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34

Tobias, James. An Educational Avant-Garde. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.003.0004.

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Abstract (sommario):

This chapter looks at the role of music and voice-over in constructing and deconstructing highly political messages in the experimental documentary format. It argues that Julien Bryan’s films on Latin America for the Office of Inter-American Affairs do not operate as US wartime propaganda, as is often believed, but are rather highly musical pedagogical essays challenging prevailing tendencies in US wartime communications by presenting progressive reforms proceeding in Latin America as more advanced than was politically feasible in the United States. These claims are dramatised and softened by complex synchronised scores. The films demonstrated the very problem of middle-class development as a highly gendered negotiation of national development. Bryan’s constructionist film education of often xenophobic US audiences on Latin America reframed the role of the spoken voice-over familiar from early cinema’s film lecturer, while deploying the newer, through-composed musical synchronisation of the sound film.

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35

Kahn, Douglas, Nilendra Gurusinghe e Larry Austin. Source: Music of the Avant-Garde, 1966 1973. University of California Press, 2011.

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36

Kahn, Douglas, Nilendra Gurusinghe e Larry Austin. Source: Music of the Avant-Garde, 1966-1973. University of California Press, 2011.

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37

Barthel-Calvet, Anne-Sylvie, e Christopher Brent Murray. Revisiting the Historiography of Postwar Avant-Garde Music. Taylor & Francis Group, 2022.

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38

Barthel-Calvet, Anne-Sylvie, e Christopher Brent Murray. Revisiting the Historiography of Postwar Avant-Garde Music. Taylor & Francis Group, 2022.

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39

Revisiting the Historiography of Postwar Avant-Garde Music. Routledge, 2022.

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40

Revisiting the Historiography of Postwar Avant-Garde Music. Taylor & Francis Group, 2022.

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41

Barthel-Calvet, Anne-Sylvie, e Christopher Brent Murray. Revisiting the Historiography of Postwar Avant-Garde Music. Routledge, 2022.

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42

Adlington, Robert. Composing Dissent: Avant-Garde Music in 1960s Amsterdam. Oxford University Press, Incorporated, 2013.

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43

Barthel-Calvet, Anne-Sylvie, e Christopher Brent Murray. Revisiting the Historiography of Postwar Avant-Garde Music. Taylor & Francis Group, 2022.

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44

Composing Dissent: Avant-Garde Music in 1960s Amsterdam. Oxford University Press, Incorporated, 2013.

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45

Echtzeitmusik Berlin: Selbstbestimmung einer Szene = self-defining a scene. Hofheim: Wolke, 2011.

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46

Music 109: Notes on experimental music. Middletown, Connecticut: Wesleyan University Press, 2012.

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47

Cohen, Brigid. Stefan Wolpe and the Avant-Garde Diaspora. Cambridge University Press, 2012.

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48

Cohen, Brigid. Stefan Wolpe and the Avant-Garde Diaspora. Cambridge University Press, 2017.

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49

Cohen, Brigid. Stefan Wolpe and the Avant-Garde Diaspora. Cambridge University Press, 2014.

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50

Three Apostles of Russian Music: The Soviet Avant-Garde. Lexington Books/Fortress Academic, 2023.

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