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Books on the topic 'Neoclassicism (Music)'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 March 2023

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1

David, Bryant, and Fondazione "Giorgio Cini ", eds. Il Novecento musicale italiano: Tra neoclassicismo e neogoticismo. Firenze: L.S. Olschki, 1988.

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2

Carr, Maureen A. Multiple masks: Neoclassicism in Stravinsky's works on Greek subjects. Lincoln: University of Nebraska Press, 2002.

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3

Diepgen, Gereon. Innovation oder Ruckgriff?: Studien zur Begriffsgeschichte des musikalischen Neoklassizismus. Frankfurt am Main: Peter Lang, 1998.

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4

Volgogradskiĭ munit︠s︡ipalʹnyĭ institut iskusstv im. P.A. Serebri︠a︡kova., ed. Neoklassit︠s︡istskie balety I.F. Stravinskogo: K probleme voploshchenii︠a︡ orficheskoĭ kont︠s︡ept︠s︡ii : monografii︠a︡. Volgograd: Volgogradskiĭ gos. universitet, 2008.

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5

Messing, Scott. Neoclassicism in music: From the genesis of the concept through the Schoenberg/Stravinsky polemic. Ann Arbor, Mich: UMI Research Press, 1988.

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6

Varunt͡s, Viktor. Muzykalʹnyĭ neoklassit͡sizm: Istoricheskie ocherki. Moskva: "Muzyka", 1988.

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7

Shevli︠a︡kov, E. G. Muzykalʹnyĭ neoklassit︠s︡izm XX veka. Moskva: Vuzovskai︠a︡ kniga, 2004.

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8

Neoclassicism in music: From the genesis of the concept through the Schoenberg/Stravinsky polemic. Ann Arbor, Mich: UMI Research Press, 1988.

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9

Messing, Scott. Neoclassicism in music: From the genesis of the concept through the Schoenberg/Stravinsky polemic. Rochester, NY: University of Rochester Press, 1996.

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10

Neoclassicism in music: From the genesis of the concept through the Schoenberg/Stravinsky polemic. Rochester, NY: University of Rochester Press, 1996.

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11

Guatterini, Marinella. Milloss, Busoni e Scelsi: Neoclassico, danza e musica nell'Italia del Novecento. Milano: Electa, 1992.

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12

Colloquium, Klassizität Klassizismus Klassik in der Musik 1920-1950 (1985 Würzburg Germany). Colloquium Klassizität, Klassizismus, Klassik in der Musik 1920-1950: Würzburg 1985. Tutzing: H. Schneider, 1988.

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13

Shevli͡akov, E. G. Neoklassit͡sizm i otechestvennai͡a muzyka 60-80-kh godov. Rostov-na-Donu: Izd-vo Rostovskogo pedagog. in-ta, 1992.

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14

Michel, Faure. Du néoclassicisme musical dans la France du premier XXe siècle. Paris: Klincksieck, 1997.

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15

Helman, Zofia. Neoklasycyzm w muzyce polskiej XX wieku. Kraków: PWM, 1985.

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16

El origen del neoclasicismo musical español: Manuel de Falla y su entorno. Málaga, España: Ediciones Maestro, 2008.

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17

Lica srpske muzike: Neoklasicizam. Beograd: Fakultet muzičke umetnosti, Katedra za muzikologiju, 2009.

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18

Du néoclassicisme musical dans la France du premier XXe siècle. Paris: Klincksieck, 1997.

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19

Schnierer, Miloš. Proměny hudebního neoklasicismu: Deset studií k dějinám hudby 20. století. Praha: Academia, 2005.

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20

Vinay, Gianfranco. Stravinsky neoclassico: L'invenzione della memoria nel '900 musicale. Venezia: Marsilio, 1987.

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21

Sandro, Massimo Di. La scrittura scorretta: Le "incoerenze" logiche dello stile Neoclassico di Stravinsky. Napoli: F. Pagano, 1993.

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22

Clasicismo moderno, neoclasicismo y retornos en el pensamiento musical español, 1915-1939. Sevilla: Doble J, 2010.

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23

Straus, Joseph Nathan. Remaking the past: Musical modernism and the influence of the tonal tradition. Cambridge, Mass: Harvard University Press, 1990.

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24

After the Rite: Stravinsky's Path to Neoclassicism. Oxford University Press, Incorporated, 2014.

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25

Carr, Maureen A. After the Rite: Stravinsky's Path to Neoclassicism. Oxford University Press, Incorporated, 2014.

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26

Multiple Masks: Neoclassicism in Stravinsky's Works on Greek Subjects. University of Nebraska Press, 2002.

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27

Passé composé: Neoklassizismus in der Schweiz : Begleitbuch zum Othmar Schoeck Festival 2021. Steinen: Müsigricht Verlag, 2021.

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28

Wheeldon, Marianne. Debussyism, Anti-debussyism, Neoclassicism. Oxford University Press, 2018. http://dx.doi.org/10.1093/acprof:oso/9780190631222.003.0003.

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Chapter 3 considers the effects of the contingencies of music and cultural history on reputation. The arrival of new artists or aesthetic tendencies on the Parisian scene forced writers to reconsider the recent musical past and to reshape it in accordance with present-day concerns. Cocteau, Les Six, Stravinsky, and Schoenberg all had significant implications for Debussy’s posthumous reception as historical frameworks were revised to integrate or denigrate Debussy’s position vis-à-vis recent musical developments. Chapter 3 examines three musical currents of the 1920s—debussyism, anti-debussyism, and neoclassicism—all of which had a notable impact on the early formation of Debussy’s legacy. Whereas the postwar turn to anti-debussyism was undoubtedly harmful for the composer’s legacy, Chapter 3 considers how the development of neoclassicism over the course of the 1920s was ultimately beneficial for the first stages of its recovery.

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29

After the Rite: Stravinsky's path to neoclassicism (1914-1925). 2014.

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30

Messing, Scott. Neoclassicism in Music: From the Genesis of the Concept Through the Schoenberg/Stravinsky Polemic (Studies in Musicology, 101). Univ of Rochester Pr, 1989.

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31

Colloquium Klassizitat, Klassizismus, Klassik in der Musik 1920-1950: Wurzburg 1985 (Wurzburger musikhistorische Beitrage). H. Schneider, 1988.

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32

Tobin, R. James. Neoclassical Music in America. Rowman & Littlefield Publishers, Incorporated, 2014.

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33

Antoni Szałowski: Person and Work. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2013.

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34

Szczurko, Elzbieta. Antoni Szałowski: Person and Work. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2014.

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35

Neoclassical Music in America: Voices of Clarity and Restraint. Rowman & Littlefield Publishers, 2014.

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36

Harbingers of Twentieth-Century Neo-Classicism. Aarhus Universitetsforlag, 2019.

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37

Hansen, Finn Egeland. Harbingers of Twentieth-Century Neo-Classicism. Aarhus University Press, 2019.

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38

Tobin, R. James. Neoclassical Music in America: Voices of Clarity and Restraint. Rowman & Littlefield Publishers, Incorporated, 2014.

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39

Ellis, Katharine. French Musical Life. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197600160.001.0001.

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This book is a study of French musical centralization and its discontents during the period leading up to and beyond the “provincial awakening” of the Belle Époque. The book explains how different kinds of artistic decentralization and regionalism were hard won (or not) across a politically turbulent century from the 1830s to World War II. In doing so, it redraws the historical map of musical power relations in France. Based on work in more than seventy archives, chapters on conservatoires, concert life, stage music, folk music, and composition reveal how tensions of state and locality played out differently depending on the structures and funding mechanisms in place, the musical priorities of different town councils, and the presence or absence of galvanizing musicians. Progressively, the book shifts from musical contexts to musical content, exploring the pressure point of folk music and its translation into “local color” for officials who perpetually feared national division. Controlling composition, on the one hand, and the emotional intensity of folk-based musical experience, on the other, emerges as a matter of consistent official praxis. In terms of “French music” and its compositional styles, what results is a surprising new historiography of French neoclassicism, bound into and growing out of a study of diversity and its limits in daily musical life.

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40

Garafola, Lynn. La Nijinska. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197603901.001.0001.

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La Nijinska: Choreographer of the Modern is the first biography of ballet’s premier female choreographer and a pioneer of the modern tradition in ballet. Overshadowed in life and legend by her brother Vaslav Nijinsky, Bronislava Nijinska had a far longer and more productive career. An architect of twentieth-century neoclassicism, she experienced the transformative power of the Russian Revolution and created her greatest work—Les Noces—under the influence of its avant-garde. Many of her ballets rested on the probing of gender boundaries, a mistrust of conventional gender roles, and the heightening of the ballerina’s technical and artistic prowess. A prominent member of Russia Abroad, she worked with leading figures of twentieth-century art, music, and ballet, including Stravinsky, Diaghilev, Poulenc, Alexandra Exter, Natalia Goncharova, Frederick Ashton, Alicia Markova, and Maria Tallchief. She was also a remarkable dancer in her own right with a bravura technique and powerful stage presence that enabled her to perform an unusually broad repertory. Finally, she was the author of an acclaimed volume of memoirs in addition to a major treatise on movement. Nijinska’s career sheds new light on the modern history of ballet and of modernism more generally, recuperating the memory of lost works and forgotten artists, many of them women. But it also reveals the sexism pervasive in the upper echelons of the early and mid-twentieth-century ballet world and the barriers that still confront ballet’s women choreographers.

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