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Music Since 1900

Published online by Cambridge University Press:  06 January 2022

John Link
William Paterson University, New Jersey
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Publisher: Cambridge University Press
Print publication year: 2022

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Titles in the series

Cross, Jonathan The Stravinsky LegacyGoogle Scholar
Nyman, Michael Experimental Music: Cage and BeyondGoogle Scholar
Doctor, Jennifer The BBC and Ultra-Modern Music, 1922–1936Google Scholar
Adlington, Robert The Music of Harrison BirtwistleGoogle Scholar
Potter, Keith Four Musical Minimalists: La Monte Young, Terry Riley, Steve Reich, Philip GlassGoogle Scholar
Caballero, Carlo Fauré and French Musical AestheticsGoogle Scholar
Burt, Peter The Music of Toru TakemitsuGoogle Scholar
Clarke, David The Music and Thought of Michael Tippett: Modern Times and MetaphysicsGoogle Scholar
Grant, M. J. Serial Music, Serial Aesthetics: Compositional Theory in Post-War EuropeGoogle Scholar
Rupprecht, Philip Britten’s Musical LanguageGoogle Scholar
Carroll, Mark Music and Ideology in Cold War EuropeGoogle Scholar
Thomas, Adrian Polish Music since SzymanowskiGoogle Scholar
Harper-Scott, J. P. E. Edward Elgar, ModernistGoogle Scholar
Everett, Yayoi Uno The Music of Louis AndriessenGoogle Scholar
Haimo, Ethan Schoenberg’s Transformation of Musical LanguageGoogle Scholar
Willson, Rachel Beckles Ligeti, Kurtág, and Hungarian Music during the Cold WarGoogle Scholar
Cherlin, Michael Schoenberg’s Musical ImaginationGoogle Scholar
Straus, Joseph N. Twelve-Tone Music in AmericaGoogle Scholar
Metzer, David Musical Modernism at the Turn of the Twenty-First CenturyGoogle Scholar
Campbell, Edward Boulez, Music and PhilosophyGoogle Scholar
Goldman, Jonathan The Musical Language of Pierre Boulez: Writings and CompositionsGoogle Scholar
van den Toorn, Pieter C. and McGinness, John Stravinsky and the Russian Period: Sound and Legacy of a Musical IdiomGoogle Scholar
Beard, David Harrison Birtwistle’s Operas and Music TheatreGoogle Scholar
Wiebe, Heather Britten’s Unquiet Pasts: Sound and Memory in Postwar ReconstructionCrossRefGoogle Scholar
Kutschke, Beate and Norton, Barley Music and Protest in 1968Google Scholar
Griffiths, Graham Stravinsky’s Piano: Genesis of a Musical LanguageGoogle Scholar
Iddon, Martin John Cage and David Tudor: Correspondence on Interpretation and PerformanceCrossRefGoogle Scholar
Iddon, Martin New Music at Darmstadt: Nono, Stockhausen, Cage, and BoulezGoogle Scholar
Williams, Alastair Music in Germany Since 1968Google Scholar
Earle, Ben Luigi Dallapiccola and Musical Modernism in Fascist ItalyGoogle Scholar
Schuttenhelm, Thomas The Orchestral Music of Michael Tippett: Creative Development and the Compositional ProcessGoogle Scholar
Nonken, Marilyn The Spectral Piano: From Liszt, Scriabin, and Debussy to the Digital AgeGoogle Scholar
Boss, Jack Schoenberg’s Twelve-Tone Music: Symmetry and the Musical IdeaGoogle Scholar
Mawer, Deborah French Music and Jazz in Conversation: From Debussy to BrubeckGoogle Scholar
Rupprecht, Philip British Musical Modernism: The Manchester Group and their ContemporariesGoogle Scholar
Wlodarski, Amy Lynn Musical Witness and Holocaust RepresentationGoogle Scholar
Nielinger-Vakil, Carola Luigi Nono: A Composer in ContextGoogle Scholar
Guldbrandsen, Erling E. and Johnson, Julian Transformations of Musical ModernismGoogle Scholar
Cline, David The Graph Music of Morton FeldmanGoogle Scholar
Hartenberger, Russell Performance and Practice in the Music of Steve ReichGoogle Scholar
Bullivant, Joanna Modern Music, Alan Bush, and the Cold War: The Cultural Left in Britain and the Communist BlocGoogle Scholar
Jones, Nicholas Peter Maxwell Davies, Selected WritingsGoogle Scholar
Harper-Scott, J. P. E. Ideology in Britten’s OperasGoogle Scholar
Boss, Jack Schoenberg’s Atonal Music: Musical Idea, Basic Image, and Specters of Tonal FunctionGoogle Scholar
Collins, Sarah Lateness and Modernism: Untimely Ideas about Music, Literature and Politics in Interwar BritainGoogle Scholar
Seinen, Nathan Prokofiev’s Soviet OperasGoogle Scholar
Wright, David C. H. The Royal College of Music and Its Contexts: An Artistic and Social HistoryGoogle Scholar
Iddon, Martin John Cage and Peter Yates: Correspondence on Music Criticism and AestheticsGoogle Scholar
Link, John Elliott Carter’s Late MusicGoogle Scholar

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