Week 5

Duke Ellington, Neoclassicism, Pierre Boulez, Karlheinz Stockhausen, Iannis Xenakis

 

Read

Paul Griffiths, CHWM, pp. 270-85.

Vivian Perlis and Libby Van Cleve, “Exploring the World of Duke Ellington,” in Composers’ Voices from Ives to Ellington (New Haven: Yale University Press, 2005), 351–67.

Martha Hyde, Excerpt from "Stravinsky’s neoclassicism," in The Cambridge Companion to Stravinsky edit. Jonathan Cross (Cambridge: Cambridge University Press, 2003), 98–102.

Joseph Auner, “Post-World War II Contexts,” in Music in the twentieth and twenty-first centuries (NY: W. W. Norton, 2013), 191-99.

Pierre Boulez, “Tendencies in Recent Music,” in Stocktakings from an Apprenticeship ed. by Paule Thévenin, tran. by Stephen Walsh (Oxford: Clarendon Press, 1991), 173-79.

Joseph Auner, “Electronic Music,” in Music in the twentieth and twenty-first centuries (NY: W. W. Norton, 2013), 212-14.

 

Additional Reading/Listening

 

Nikolas Slonimsky, “The New World of Dodecophonic music,,” in Nikolas Slonimsky: Writings on Music , vol 3 , edit. Electra Slonimsky Yourke (London: Routledge, 2003), 50–55.

Boosey & Hawkes Metastaseis sound score

 

Listening link and scores

 

Ellington, “Isfahan,” from Impressions of the Far East Suite, arr. Billy Strayhorn (1964)

Boulez, I. avant L’artisant furieux from Le Marteau sans maitre

Xenakis, Metastaseis, mm. 1-100.

 

Composers discussed in CHWM, pp. 270-85:

 

American: Milton Babbitt, Elliott Carter, Conlon Nancarrow

British: Benjamin Britten, Michael Tippett

French: Pierre Boulez, Henri Dutilleux

German/Austrian: Karlheinz Stockhausen

Greek: Iannis Xenakis

Hungarian: György Kurtág

Italian: Luigi Nono

Polish: Witold Lutosławski

 

Topics: electronic music, serialism