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Books on the topic 'Social aspects of Avant Garde (Music)'

Author: Grafiati

Published: 4 June 2021

Last updated: 17 February 2022

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1

Born, Georgina. Rationalizing culture: IRCAM, Boulez, and the institutionalization of the musical avant-garde. University of California Press, 1995.

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Born, Georgina. Rationalizing culture: IRCAM, Boulez, and the institutionalization of the musical avant-garde. University of California Press, 1995.

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3

Que, Zhang. Akkulturationsphänomene in der gegenwärtigen Musikkultur Chinas: Die musikalische Avantgarde der achtziger Jahre. K.D. Wagner, 1992.

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4

Resonances: Noise and contemporary music. Bloomsbury Academic, 2013.

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5

Avant-garde performance and material exchange: Vectors of the radical. Palgrave Macmillan, 2011.

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6

Musikwirtschaft und Neue Musik: Das unternehmerische Entscheidungsverhalten zwischen Ästhetik und Ökonomie. Lang, 1997.

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7

Levine, Caroline. Provoking democracy: Why we need the arts. Blackwell, 2007.

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8

editor, Maconochie Charlotte, ed. Avant-garde from below: Transgressive performance from Iggy Pop to Joe Coleman and GG Allin. Rokko's Adventures, 2016.

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9

Birth of a national icon: The literary avant-garde and the origins of the intellectual in France. State University of New York Press, 1999.

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10

A tragédia da escuta: Luigi Nono e a música do século XX. Imprensa Nacional-Casa da Moeda, 2007.

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11

Cinema y arte nuevo: La recepción fílmica en la vanguardia española (1917-1937). Biblioteca Nueva, 2003.

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12

Tizon, Alain. Votre révolution n'est pas la mienne. Sulliver, 1999.

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13

Finitude's score: Essays for the end of the millennium. University of Nebraska Press, 1994.

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14

Deconstructing post-WWII New York City: The literature, art, jazz, and architecture of an emerging global capital. Routledge, 2003.

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15

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

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16

Robert, Adlington, ed. Otherwise engaged: Avant-garde music and the sixties. Oxford University Press, 2008.

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17

Born, Georgina. Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde. University of California Press, 1995.

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18

Erhard, Schütz, and Vogt Jochen, eds. Der Scheinwerfer: Ein Forum der neuen Sachlichkeit 1927-1933. Klartext-Verlag, 1986.

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19

Japanoise Music At The Edge Of Circulation. Duke University Press, 2013.

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20

Avant-garde Videogames: Playing with Technoculture. The MIT Press, 2014.

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21

Bolter, Jay David, and Brian Schrank. Avant-Garde Videogames: Playing with Technoculture. MIT Press, 2014.

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22

Bolter, Jay David, and Brian Schrank. Avant-Garde Videogames: Playing with Technoculture. MIT Press, 2014.

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23

Bolter, Jay David, and Brian Schrank. Avant-Garde Videogames: Playing with Technoculture. MIT Press, 2014.

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24

Quevedo, Marysol. Experimental Music and the Avant-garde in Post-1959 Cuba. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190842741.003.0014.

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This chapter examines how experimental music in the 1960s in Cuba reached wider audiences as a product of the cultural policies of the Cuban Revolution and of the aesthetic goals of a particular set of individuals who took advantage of the new cultural institutions to promote experimental music under the banner of vanguardia. As music advisor of the Orquesta Sinfónica Nacional, Juan Blanco programed new music by international and Cuban composers. As music director of the Instituto Cubano de Artes e Industrias Cinematográficas, Leo Brouwer recruited composers who shared his interest in experime

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25

Kirwan, Jon. An Avant-garde Theological Generation. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198819226.001.0001.

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This book offers a clearer understanding of the nouvelle théologie, an influential French reform movement that flourished during the 1930s and 1940s, championed ressourcement, or, a ‘return to the sources’, and hoped to build a certain rapprochement with modernity by appropriating the historical method, aspects of phenomenology, and social engagement. Comprised of theologians and philosophers from the Jesuit theologate Fourvière in Lyon and the Dominican house at Le Saulchoir in Belgium, they were led by such figures as Henri de Lubac, Jean Daniélou, Marie Dominique Chenu, and Yves Congar. Aft

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26

Poetic Community: Avant-Garde Activism and Cold War Culture. University of Toronto Press, 2013.

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27

1944-, Giroux Robert, ed. En avant la chanson! Triptyque, 1993.

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28

Provoking Democracy: Why We Need the Arts (Blackwell Manifestos). Wiley-Blackwell, 2007.

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29

Levine, Caroline. Provoking Democracy: Why We Need the Arts (Blackwell Manifestos). Wiley-Blackwell, 2007.

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30

Noisemakers: Estridentismo, Vanguardism, and Social Action in Post-Revolutionary Mexico. University of California Press, 2017.

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31

Boring Formless Nonsense. Continuum Publishing Corporation, 2013.

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32

Finitude's Score: Essays for the End of the Millennium (Texts and Contexts). University of Nebraska Press, 1998.

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33

The Avantgarde Race Religion War. Seagull Books, 2012.

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34

Leitner, Bernhard, and Helga De LA Motte. Resonanzen/Resonances: Aspekte Der Klangkunst/Aspects of Sound Art. Kehrer Verlag, 2003.

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35

Beal, Amy C. Social Studies. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036361.003.0004.

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This chapter focuses on the Jazz Composers Guild and the Jazz Composers Guild Orchestra, which directly affected Bley's career. The Jazz Composers Guild was a member-run musicians' cooperative. Composers involved in the guild acknowledged their music as a branch of noncommercial, avant-garde art music in desperate need of subsidy and aimed to find support through foundation grants. Later in 1964, the Jazz Composers Guild produced a series of events featuring music by Bley and by some of the leading avant-garde jazz composers of the time, all of whom were founding members of the guild. Bley the

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36

Hautamäki, Irmeli, Laura Piippo, and Helena Sederholm, eds. Avantgarde Suomessa. SKS Finnish Literature Society, 2021. http://dx.doi.org/10.21435/tl.267.

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Avant-garde in Finland is the first book to provide an overarching introduction to avant-garde art by Finnish artists. The articles in the book discuss the application and development of the cultural ideas of the avant-garde in Finnish art from the early 20th century till the present day. The book focusses on the social, political, and artistic characteristics of avant-garde art and their manifestation in Finnish avant-garde literature, visual arts, architecture, fashion, and music. The book shows the remarkable role of women artists in the development of the Finnish avant-garde. Many artists

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37

Feast of Excess: A cultural history of the New Sensibility. Oxford University Press, 2016.

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38

Attinello, Paul. Deaths and Silences. Edited by Patricia Hall. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199733163.013.25.

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This chapter examines censorship in relation to music and the AIDS crisis and the social or political timidity that seems to characterize such music. It argues that music about AIDS reflects a combination of caution and defiance, provocation and obscurity, and tends to foreground implicit feelings of transgression. The chapter supports its arguments by presenting musical works that represent most of the major genres on sale in record stores, including classical, avant-garde, musicals, and film scores. It also cites the work of Frank Zappa and how it underwent a process that mirrors the problem

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39

Thomas, Susan. Experimental Alternatives. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190842741.003.0003.

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In 1969 the director of Cuba’s film institute, Alfredo Guevara, founded a musical collective whose official purpose was to provide film music for Cuba’s vibrant and experimental new socialist cinema. The resulting Grupo de Experimentación Sonora represented something of a “rescue mission” for artists who for reasons political, aesthetic, or of personality found themselves on the margins of increasingly conservative and restrictive state-run cultural institutions. Under the direction of composer Leo Brouwer, the Grupo incorporated musicians who became some of the Revolution’s most renowned arti

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40

Schiff, David. Back to Modernism. Back to Futurism. Back to New York (1948–1975). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190259150.003.0007.

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Carter’s mid-life oeuvre much of it composed in Europe, can be divided into three phases. From the Cello Sonata to the Variations for Orchestra he achieved a synthesis of European modernism, especially as found in the music of Schoenberg, Berg and Bartók, and American ultra-modernism; in all of these works Carter either quoted or alluded to compositions by Charles Ives. The works from the Second Quartet to the Concerto for Orchestra reflect his ambivalent connection with the European avant-garde. While he was particularly impressed with the spatial composition and expansion of percussion found

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41

Piekut, Benjamin. Afterword. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190842741.003.0016.

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This chapter discusses how a US-focused mainstream concept of American experimental music within the art music tradition was cemented in the 1950s through the work of John Cage at a moment when he established professional connections with the European avant-garde. The chapter recognizes that before this moment, composers such as Henry Cowell had thought of American experimentalism in a more hemispheric way and included the activities of composers like Carlos Chávez, Alejandro García Caturla, and Amadeo Roldán in their genealogies. Rather than arguing for a revisionist type of history to includ

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42

Gioia, Ted. The History of Jazz. 3rd ed. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190087210.001.0001.

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The History of Jazz, 3rd edition, is a comprehensive survey of jazz music from its origins until the current day. The book is designed for general readers and students, as well as those with more specialized interest in jazz and music history. It provides detailed biographical information and an overview of the musical contributions of the key innovators in development of jazz, including Louis Armstrong, Duke Ellington, Billie Holiday, Coleman Hawkins, Charlie Parker, Dizzy Gillespie, Thelonious Monk, Ella Fitzgerald, Miles Davis, John Coltrane, Ornette Coleman, and others. The book also trace

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43

Saylor, Eric. Afterword. University of Illinois Press, 2018. http://dx.doi.org/10.5406/illinois/9780252041099.003.0007.

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The disparate approaches to English pastoralism considered within this book—whether evoking scenes and characters from classical poetry, depicting an imaginary past or a hoped-for future, responding to the landscape, commenting on contemporary social and political challenges, providing spiritual sustenance for the living, or eulogizing the dead—firmly banish outdated clichés of it as little more than folky-wolky roister-doistering. Instead, pastoralism stands revealed as a subtle and flexible expressive mode capable of transcending the circumstances and surroundings of its creation, conveyed b

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44

Novetzke, Christian Lee. The Quotidian Revolution. Columbia University Press, 2017. http://dx.doi.org/10.7312/columbia/9780231175807.001.0001.

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In thirteenth-century Maharashtra, a new vernacular literature emerged to challenge the hegemony of Sanskrit, a language largely restricted to men of high caste. In a vivid and accessible idiom, this new Marathi literature inaugurated a public debate over the ethics of social difference grounded in the idiom of everyday life. The arguments of vernacular intellectuals pushed the question of social inclusion into ever-wider social realms, spearheading the development of a nascent premodern public sphere that valorized the quotidian world in sociopolitical terms. The Quotidian Revolution examines

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45

Greenland, Thomas H. Hear and Now. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040115.003.0008.

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This chapter focuses on the communication between musicians and listeners during jazz performances: how performers engage listeners, how jazz audiences express agency, and how both derive deep meanings from reciprocal interactions that culminate in collective improvisations. The discussion shifts between the views of musician-performers and that of audience-performers, with special attention given to avant-jazz concertgoers. The chapter first considers how jazz musicians engage with lay audiences during performances and how listeners, as coagents and co-performers, engender and elaborate colle

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