Music Since 1900 - Series page

pp ii-iv

Transformations of Musical Modernism - Title page

pp v-v

Copyright page

pp vi-vi

Contents

pp vii-viii

Music examples

pp ix-xi

Notes on contributors

pp xii-xv

Acknowledgements

pp xvi-xvi

Introduction

pp 1-18

Part I - Rethinking modernism

pp 19-116

1 - The lure of the Sublime

pp 21-35

2 - Return of the repressed

pp 36-52

3 - Expressionism revisited

pp 53-73

4 - Erik Bergman, cosmopolitanism and the transformation of musical geography1

pp 74-96

5 - Sharing a stage

pp 97-116

Part II - Rewriting modernism

pp 117-220

6 - Ritual and Eros in James Dillon’s Come live with me

pp 119-144

7 - Montage in modernity

pp 145-154

8 - Transformations of appearance

pp 155-171

9 - Rethinking Boulez

pp 172-189

10 - Remembrance and prognosis in the music of György Ligeti

pp 190-200

11 - Valentin Silvestrov and the symphonic monument in ruins

pp 201-220

Part III - Replaying modernism

pp 221-318

12 - Playing with transformations

pp 223-244

13 - Performance as critique

pp 245-263

14 - ‘Unwrapping’ the voice

pp 264-278

15 - Radically idiomatic instrumental practice in works by Brian Ferneyhough

pp 279-298

16 - The ethics of performance practice in complex music after 1945

pp 299-318

Bibliography

pp 319-335

Index of names

pp 336-346