Art music, orchestral and formal music Books

Book SynopsisSimon Shaw-Miller is Chair of History of Art, University of Bristol, UK. He is an Honorary Associate and Research Fellow of the Royal Academy of Music, a Fellow of the Royal Society of Arts, and a Fellow of the Higher Education Academy.Trade ReviewShaw-Miller’s brilliant new volume is a virtuosic critical riff on improvisation as aesthetic principle and artistic practice. Productively entwining histories of jazz and abstraction in 20th-century visual art, this text is a revelatory account of modernism at its most playful and creative. * Daniel Grimley, Professor of Music, University of Oxford, UK *In a wide-ranging and compelling argument, Shaw-Miller rethinks the theory and practice of improvisation in early-20th-century transatlantic culture and offers an essential account of the “jazz modernism” that continues to challenge the racial and experiential hierarchies of modernity. * Michael Hatt, Professor of History of Art, University of Warwick, UK *Having amassed prodigious research, Simon Shaw-Miller is a terrific Orphic guide to the vast musical-visual territory that he fearlessly traverses. Even as he embraces the mutability of jazz as a category, Shaw-Miller offers a jazz paradigm for the visual arts that is sturdy and capacious enough to accommodate composition, execution, and reception in equal measure. * Anne Leonard, Manton Curator of Prints, Drawings, & Photographs, Clark Art Institute, USA *Table of ContentsIntroduction & Theoretical Preliminaries: Art, Abstraction and All That Jazz 1. The Sight and Sound of Nascent Jazz: Words, Definitions & Rags 2. Orphism and a New Tune I: Dance, Music, Painting 3. Orphism and a New Tune II: Words, Music, Image 4. Orphism in America: Art, Machines and Jazz Rhythm 5. Objects, Improvisation and Rhythm: Kandinsky, Duchamp and Beyond

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Book Synopsis

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Book Synopsis

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Book Synopsis

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Book Synopsis

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Book SynopsisRobert Carl is chair of Composition at the Hartt School, University of Hartford. His music is performed worldwide. His first teacher was Jonathan Kramer.Trade ReviewThe value and importance of the book is properly expressed in the conclusion of the preface by Jann Pasler ... Indeed a deep reading of this book will provoke an objective critical relationship towards postmodernism even among those (like myself) who cautiously use this term – if they use it at all. * International Review of the Aesthetics and Sociology of Music *Jonathan Kramer’s Postmodern Music, Postmodern Listening reflects his voracious mind and offers the reader a highly original tour through the philosophy, aesthetics, and analysis of musical postmodernism. The book is both accessible and authoritative, and it fills an important gap in the musical literature. * Fred Lerdahl, Professor of Music, Columbia University, USA *A brilliant “both/and,” inclusive thinker, Jonathan Kramer has always been accessible and engaging, eclectic and learned. As a consummate writer, teacher and composer, he has astutely theorized postmodernism—that slippery, contentious beast—from the evidence of contemporary music itself and from the social values of its listeners, as well as creators. In this multi-layered, innovative study of music in our world of “social saturation”, the postmodern is neither a category nor an era: it is a way of hearing, a musical attitude shared by composers and listeners alike. This captivating book will make you rethink modernism, anti-modernism, and of course postmodernism. * Linda Hutcheon, Professor Emeritus, University of Toronto, Canada *For years Jonathan Kramer has been the leading thinker on the vexed subject of postmodernism in music through his articles and lectures. Now his long-awaited book on the topic is finally posthumously out, and the subtlety and nuance with which he draws a consistent and reasonable argument from so much disparate and seemingly contradictory data is breathtaking. This is likely to be the standard work on musical postmodernism for a long time, and will vastly increase the depth of the discussion. * Kyle Gann, Hawver Professor of Music, Bard College, USA *Table of ContentsEditor’s Introduction by Robert Carl Preface by Jann Pasler Acknowledgements Foreword BOOK 1. IDEAS PART I. CHAPTERS ON POSTMODERN CONCEPTS OF MUSIC Chapter 1: The Nature and Origins of Musical Postmodernism Chapter 2: Postmodernism (Not) Defined Chapter 3: Modernism, Postmodernism, the Avant Garde, and Their Audiences PART II. CHAPTERS ON CONCEPTS OF POSTMODERN MUSIC Chapter 4: Postmodernism and Related Isms in Today’s Music Chapter 5: Unity, Organicism, and Challenges to Their Ubiquity Chapter 6: Beyond Unity Chapter 7: Postmodern Listening Chapter 8: Postmodern Musical Time Chapter 9: Surrealism, Neoclassicism, and Postmodernism PART III. POSTMODERN CHAPTERS ON THE CONCEPT OF MUSIC Chapter 10: Economics, Politics, Technology, and Appropriation Chapter 11: Beyond the Beyond: Postmodernism Exemplified BOOK II. CASE HISTORIES Chapter 12: Postmodernism in the Finale of Mahler's Seventh Symphony Chapter 13: Unity and Disunity in Nielsen’s Sixth Symphony BOOK III. ESSAYS ON POSTMODERNISM AND JONATHAN KRAMER Editor’s note 1. Postmodern Musings, Postmodern Performing by Deborah Bradley-Kramer 2. Are We Postmodern Yet? By Brad Garton 3. Music in the Anthropocene by John Luther Adams 4. On (re-) Hearing Kramer: Five Reactions to Postmodernism Music, Postmodern Listening by John Halle 5. Uncommon Kindness: Reflections on Jonathan Kramer by Duncan Neilson 6. Kramer Post Kramer by Martin Bresnick Biographies Bibliography Index

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