9780520283152-0520283155-Music after the Fall: Modern Composition and Culture since 1989

Music after the Fall: Modern Composition and Culture since 1989

ISBN-13: 9780520283152
ISBN-10: 0520283155
Edition: First
Author: Rutherford-Johnson, Tim
Publication date: 2017
Publisher: University of California Press
Format: Paperback 368 pages
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Book details

ISBN-13: 9780520283152
ISBN-10: 0520283155
Edition: First
Author: Rutherford-Johnson, Tim
Publication date: 2017
Publisher: University of California Press
Format: Paperback 368 pages

Summary

Acknowledged authors Rutherford-Johnson, Tim wrote Music after the Fall: Modern Composition and Culture since 1989 comprising 368 pages back in 2017. Textbook and eTextbook are published under ISBN 0520283155 and 9780520283152. Since then Music after the Fall: Modern Composition and Culture since 1989 textbook was available to sell back to BooksRun online for the top buyback price of $ 5.17 or rent at the marketplace.

Description

"...the best extant map of our sonic shadowlands, and it has changed how I listen."—Alex Ross, The New Yorker

"...an essential survey of contemporary music."New York Times

"…sharp, provacative and always on the money. The listening list alone promises months of fresh discovery, the main text a fresh new way of navigating the world of sound."The Wire

2017 Music Book of the Year—Alex Ross, The New Yorker

Music after the Fall is the first book to survey contemporary Western art music within the transformed political, cultural, and technological environment of the post–Cold War era. In this book, Tim Rutherford-Johnson considers musical composition against this changed backdrop, placing it in the context of globalization, digitization, and new media. Drawing connections with the other arts, in particular visual art and architecture, he expands the definition of Western art music to include forms of composition, experimental music, sound art, and crossover work from across the spectrum, inside and beyond the concert hall.

Each chapter is a critical consideration of a wide range of composers, performers, works, and institutions, and develops a broad and rich picture of the new music ecosystem, from North American string quartets to Lebanese improvisers, from electroacoustic music studios in South America to ruined pianos in the Australian outback. Rutherford-Johnson puts forth a new approach to the study of contemporary music that relies less on taxonomies of style and technique than on the comparison of different responses to common themes of permission, fluidity, excess, and loss.

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