The Routledge Research Companion to Modernism in Music

Modernism has remained a pivotal focus of debate in musicology well into the twenty-first century, and recent critiques have failed to dampen its resilience. However, the picture of modernism has considerably broadened and diversified. As well as new approaches to areas that are relatively familiar, this book explores the less established topics

Björn Heile is Professor of Music (post-1900) at the University of Glasgow. He is the author of The Music of Mauricio Kagel (Ashgate, 2006), the editor of The Modernist Legacy: Essays on New Music (Ashgate, 2009), co-editor (with Martin Iddon) of Mauricio Kagel bei den Darmstädter Ferienkursen für Neue Musik: Eine Dokumentation (2009) and co-editor (with Peter Elsdon and Jenny Doctor) of Watching Jazz: Encountering Jazz Performance on Screen (2016), plus many other publications on new music, experimental music theatre and jazz. Among other projects, he is trying to write a book on the global history of musical modernism. Charles Wilson was Senior Editor for twentieth-century composers on the second edition of the New Grove Dictionary of Music and Musicians, and currently lectures at the School of Music, Cardiff University. He served as Editor-in-Chief (2009-12) of the journal Twentieth-Century Music. His research focuses on the relationship between historiography and practice (both personal and institutional) in the art music of the twentieth and twenty-first centuries.

Introduction Björn Heile and Charles Wilson Part I Foundations 1: The Birth of Modernism - Out of the Spirit of Comedy James R. Currie 2: What Was Contemporary Music? The New, the Modern and the Contemporary in the International Society for Contemporary Music (ISCM) Sarah Collins 3: Institutions, Artworlds, New Music Martin Iddon 4: Modernism and History David J. Code 5: Musical Modernity, the Beautiful and the Sublime Edward Campbell Part II Positions 6: Reactive Modernism J. P. E. Harper-Scott 7: Musical Modernism, Global: Comparative Observations Björn Heile 8: Musical Modernism and Exile: Cliché as Hermeneutic Tool Eva Moreda Rodríguez 9: Modernism: The People's Music? Robert Adlington 10: Modernism for and of the Masses? On Popular Modernisms Stephen Graham 11: Times Like the Present: De-limiting Music in the Twenty-First Century Charles Wilson 12: The Composer as Communication Theorist M.J. Grant 13: How Does Modernist Music Make You Feel? Between Subjectivity and Affect Trent Leipert Part III Practices 14: Between Modernism and Postmodernism: Structure and Expression in John Adams, Kaija Saariaho and Thomas Adès Alastair Williams 15: Foundations and Fixations: Continuities in British Musical Modernism Arnold Whittall 16: The Balinese Moment in the Montreal New Music Scene as a Regional Modernism Jonathan Goldman 17: Vers une écriture liminale: Serialism, Spectralism and Écriture in the Transitional Music of Gérard Grisey Liam Cagney 18: Contemporary Opera and the Failure of Language Amy Bauer 19: 'Es klang so alt und war doch so neu!': Modernist Operatic Culture through the Prism of Staging 'Die Meistersinger von Nürnberg' Mark Berry 20: The Modernism of the Mainstream: An Early Twentieth-Century Ideology of Violin Playing Stefan Knapik