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The debate over modernist music has continued for almost a century: from Berg's Wozzeck and Webern's Symphony Op.21 to John Cage's renegotiation of musical control, the unusual musical practices of the Velvet Underground, and Stanley Kubrick's use of Ligeti's Lux Aeterna in the epic film 2001. The composers discussed in these pages -- including Bartók, Stockhausen, Bernard Herrmann, Steve Reich, and many others -- are modernists in that they are defined by their individualism, whether covert or overt, and share a basic urge toward redesigning musical discourse. The aim of this volume is to negotiate a varied and open middle ground between polemical extremes of reception. The contributors sketch out the possible significance of a repertory that in past discussions has been deemed either meaningless or beyond describable meaning. With an emphasis on recent aesthetics and contexts -- including film music, sexuality, metaphor, and ideas of a listening grammar -- they trace the meanings that such works and composers have held for listeners of different kinds. None of them takes up the usual mandate of "educated listening" to modernist works: the notion that a person can appreciate "difficult" music if given enough time and schooling. Instead the book defines novel but meaningful avenues of significance for modernist music, avenues beyond those deemed appropriate or acceptable by the academy. While some contributors offer new listening strategies, most interpret the listening premise more loosely: as a metaphor for any manner of personal and immediate connection with music. In addition to a previously untranslated article by Pierre Boulez, the volume contains articles (all but one previously unpublished) by twelve distinctive and prominent composers, music critics, and music theorists from America, Europe, Australia, and South Africa: Arved Ashby, Amy Bauer, William Bolcom, Jonathan Bernard, Judy Lochhead, Fred Maus, Andrew Mead, Greg Sandow, Martin Scherzinger, Jeremy Tambling, Richard Toop, and Lloyd Whitesell. Arved Ashby is Associate Professor of Music at the Ohio State University.

In this book, Susan McClary examines the mechanisms through which seventeenth-century musicians simulated extreme affective states—desire, divine rapture, and ecstatic pleasure. She demonstrates how every major genre of the period, from opera to religious music to instrumental pieces based on dances, was part of this striving for heightened passions by performers and listeners. While she analyzes the social and historical reasons for the high value placed on expressive intensity in both secular and sacred music, and she also links desire and pleasure to the many technical innovations of the period. McClary shows how musicians—whether working within the contexts of the Reformation or Counter-Reformation, Absolutists courts or commercial enterprises in Venice—were able to manipulate known procedures to produce radically new ways of experiencing time and the Self.

Chilly Gonzales is one of the most exciting, original, hard-to-pin-down musicians of our time. Filling halls worldwide at the piano in his slippers and a bathrobe—in any one night he can be dissecting the musicology of an Oasis hit, giving a sublime solo recital, and displaying his lyrical dexterity as a rapper. In his book about Enya, he asks: Does music have to be smart or does it just have to go to the heart? In dazzling, erudite prose Gonzales delves beyond her innumerable gold discs and millions of fans to excavate his own enthusiasm for Enya's singular music as well as the mysterious musician herself, and along the way uncovers new truths about the nature of music, fame, success and the artistic endeavour.

What, exactly, is knowledge of music? And what does it tell us about humanistic knowledge in general? The Thought of Music grapples directly with these fundamental questions—questions especially compelling at a time when humanistic knowledge is enmeshed in debates about its character and future. In this third volume in a trilogy on musical understanding that includes Interpreting Music and Expression and Truth, Lawrence Kramer seeks answers in both thought about music and thought in music—thinking in tones. He skillfully assesses musical scholarship in the aftermath of critical musicology and musical hermeneutics and in view of more recent concerns with embodiment, affect, and performance. This authoritative and timely work challenges the prevailing conceptions of every topic it addresses: language, context, and culture; pleasure and performance; and, through music, the foundations of understanding in the humanities. The publisher gratefully acknowledges the Joseph Kerman Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.

Excerpt from The Pleasures of Music That music gives pleasure is axiomatic. Because that is So, the pleasures of music as a subject for discussion may seem to some of you a rather elementary dish to place be fore so knowing an audience. But I think you will agree that the source of that pleasure, our musical instinct, is not at all elementary; it is, in fact, one of the prime puzzles of consciousness. Why is it that sound waves, when they strike the ear, cause volleys of nerve impulses to flow up into the brain, resulting in a pleasurable sensation? More than that, why is it that we are able to make sense out of these volleys of nerve signals so that we emerge from engulfment in the orderly presentation of sound stimuli as if we had lived through a simulacrum of life, the in stinctive life of the emotions? And why, when safely seated and merely listening, should our hearts beat faster, our temperature rise, our toes start tapping, our minds start racing after the music, hoping it will go one way and watch ing it go another, deceived and disgruntled when we are unconvinced, elated and grateful when we acquiesce? We have a part answer, I suppose, in that the physical nature of sound has been thoroughly explored; but the phe nomenon of music as an expressive, communicative agency remains as inexplicable as ever it was. - We musicians don't ask for much. All we want is to have one investigator tell us why this young fellow seated in row A is firmly held by the musical sounds he hears while his girl friend gets little or nothing out of them, or vice versa. Think how many millions of useless practice hours {might have been saved if some alert professor of genetics had developed a test for musical sensibility, The fascination of music for some human beings was curiously illustrated for me once during a visit I made to the showrooms of a manufacturer of elec tronic organs. As part of my tour I was taken to see the practice room. There, to my surprise, [i found not one but eight aspiring organists, all busily practicing simultanely on eight organs. More surprising still was the fact that not a sound was audible, for all eight performers were listen ing through earphones to their individual instrument. It was an uncanny sight, even for a fellow musician, to watch these grown men mesmerized, as it were, by a silent and in visible genie. On that day I fully realized how mesmerized we ear-minded creatures must seem to our less musically inclined friends. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.