University of South Carolina
School of Music

BAIN MUSC 725
Contemporary Styles II (1945-80)

Summer 2017

MUSC 725 | DRAM | Grove/Oxford | Harvard Dictionary | JSTOR | Naxos | USC OPAC


C O U R S E   M O D U L E S
1. Origins, Atonality, Serialism &
Texturalism (Ch. 1-3)
2. Timbralism, Tuning &
Electroacoustic Music (Ch. 4 & 7)
3. Indeterminacy, Experimentalism &
Minimalism (Ch. 5-6 & 9)
Integration (Ch. 10)
Electronic Resources
Blackboard.sc.edu

Quotable

x

...music exists as it is in the vanguard, or it does not exist at all.

y
– Herbert Eimert

Course Documents

  1. Syllabus (pdf)
  2. Final Presentation
  3. Links for Students

Course Materials

  1. Works for Study
  2. Source Readings
  3. Cope's Vectoral Approach
  4. Handouts
  5. Online Theory Primers
  6. Composers
  7. Performers
  8. Analytical Media

Software

  1. PC Polygon Assistant, v1.8d
  2. Atonal Assistant, v2.2
  3. Twelve-Tone Assistant, v2.4d
  4. Ratio to Cents, v2.03
  5. SLAPI, v1.1

Course Description

Theory, analysis and aesthetics of compositional styles associated with new directions in Western art music for the period 1945-1980.

Required Textbook

Cope, David. 2001. New Directions in Music, 7th ed. Long Grove, IL: Waveland, 2001.
ISBN: 9781577661085). {GBd; Waveland; About the author}

Recommended Texts (Music Library Reserve)

Gann, Kyle. 1997/2005. American Music in the Twentieth Century. New York: Schirmer. {GBd}

Griffiths, Paul. 1995/2011. Modern Music and After - Directions Since 1945. New York: Oxford University Press. {GB; TOC}

Morgan, Robert. 1991. Twentieth-Century Music: A History of Musical Style in Modern Europe and America. New York: Norton. {GBd}

Schwartz, Elliott and Daniel Godfrey. 1993. Music Since 1945: Issues, Materials, and Literature. New York: Schirmer. {GBd}

Taruskin, Richard. 2010. Music in the Late Twentieth Century. New York: Oxford University Press. {GB | TOC}

Gateways to Contemporary Classical Music

  1. Warner Classics, 100 Best 20th Century Classics {Naxos}
  2. Awards
  3. What's Going on Now?

Digital Resources

  1. Research Links
  2. Articles
  3. Recordings
  4. Recordings
  5. Scores

Bibliography

Style
LaRue, Jan. 1970/ 2011. Guidelines for Style Analysis, Expanded 2nd ed. Warren, MI: Harmonie Park Press. {GBd}
Meyer, Leonard. 1989. Style and Music: Theory, History, and Ideology. Chicago: University of Chicago Press. {GB}
Seaton, Douglass. 2010. The Ideas and Styles in the Western Musical Tradition, 3rd ed. New York: Oxford. {GBd}

Post-Tonal Theory & Analysis (See also: BAIN MUSC 525)
Cook, Nicholas. 1994. A Guide to Music Analysis. New York: Oxford University Press. {GB}
Forte, Allen. 1973. The Structure of Atonal Music. New Haven: Yale University Press. {GB}
Hanninen, Dora A. 2012. A Theory of Music Analysis: On Segmentation and Associative Organization.
      Rochester, NY: University of Rochester Press. {GB}
Kerman, Joseph. 1985. Contemplating Music: Challenges to Musicology. Cambridge: Harvard University Press. {GB}
Lester, Joel. 1989. Analytic Approaches to Twentieth-Century Music. New York: Norton. {GBd}
Pearsall, Edward. 2012. Twentieth-Century Music and Practice. New York: Routledge. {GB}
Perle, George. 1962/1991. Serial Composition and Atonality, 6th ed. rev. Berkeley: University of California Press. {GB}
___________. 1990. The Listening Composer. Berkeley: University of California Press. {GB}
Rahn, John. 1980. Basic Atonal Theory. New York: Longman. {GBd}
Straus, Joseph N. 2016. Introduction to Post-Tonal Theory, 4th ed. New York: Norton. {GB; 3/e: GB}

Schuijer, Michiel. 2008. Analyzing Atonal Music: Pitch-Class Set Theory and Its Contexts. Rochester:
      University of Rochester Press. {GB}
Tymoczko, Dmitri. 2011. A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice.
      New York: Oxford University Press. {GB}

Serialism
Bailey, Kathryn. 1991. The Twelve-Note Music of Anton Webern: Old Forms in a New Language. New York: Cambridge University Press. {GB; ACLS}
Brindle, Reginald Smith. 1966. Serial Composition. New York: Oxford University Press. {GBd}

Krenek, Ernst. 1940. Studies in Counterpoint: Based on the Twelve-Tone Technique. New York: G. Schirmer.
Perle, George. 1962/1991. Serial Composition and Atonality, 6th ed. rev. Berkeley: University of California Press. {1/e: GB; 3/e: GB; 6/e: GB}
___________. 1977/1996. Twelve-Tone Tonality, 2nd ed. Berkeley: University of California Press. {1/e: GB; 2/e: GB}
Mead, Andrew. 1994. An Introduction to the Music of Milton Babbitt. Princeton: Princeton University Press. {GB}
Morris, Robert. 2010. The Whistling Blackbird: Essays and Talks on New Music. Rochester: University of Rochester Press. {GB}
Schoenberg, Arnold, Leonard Stein, ed., Leo Black, trans. 1984. Style and Idea. Berkeley: University of California Press. {GB}
Straus, Joseph N. 2001. Stravinsky's Late Music. New York: Cambridge University Press. {GB}
_____________. 2009. Twelve-Tone Music in America. New York: Cambridge University Press. {GBd}
Whittall, Arnold. 2008. Serialism. New York: Cambridge University Press. {GB}
Wuorinen, Charles. 1979/1994. Simple Composition. New York: C.F. Peters. {GBd}

History

Antokoletz, Elliott. 2014. A History of Twentieth-Century Music in a Theoretic-Analytical Context. New York: Routledge. {GB}
Auner, Joseph. 2013. Music in the Twentieth and Twenty-First Centuries. New York: Norton. {GBd; Norton}
Brrindle, Reginald Smith. 1987. The New Music: The Avant-Garde Since 1945, 2nd ed. New York: Oxford University Press. {GBd}
Christensen, Thomas, ed. 2002. The Cambridge History of Western Music Theory. New York: Cambridge University Press. {GB; GP}
Gann, Kyle. 1997/2005. American Music in the Twentieth Century. New York: Schirmer. {GBd 1/GBd 2}
Griffiths, Paul. 1995/2011. Modern Music and After - Directions Since 1945. New York: Oxford University Press. {GB}
Grubbs, John, ed. 1976. Current Thought in Musicology. Austin, TX: University of Texas Press. {GB}
Morgan, Robert. 1991. Twentieth-Century Music: A History of Musical Style in Modern Europe and America. New York: Norton. {GBd}
Nyman, Micheal. 1999. Experimental Music: Cage and Beyond. New York: Cambridge University Press. {GB}
Potter, Keith. 2002. Four Musical Minimalists. Cambridge: Cambridge University Press. {GB}
Potter, Keith, Kyle Gann, et al. eds. 2013. The Ashgate Research Companion to Minimalist and Postminimalist Music. New York: Routledge. {GB}

Ross, Alex. 2007. The Rest is Noise. New York: Farrar, Straus and Giroux. {GBd}
________. 2010. Listen to This. New York: Farrar, Straus and Giroux. {GB}
Schwartz, Elliott and Daniel Godfrey. 1993. Music Since 1945: Issues, Materials, and Literature. New York: Schirmer. {GBd}
Simms, Bryan. 2010.
Music of the Twentieth Century: Style and Structure. New York: Schirmer. {GBd}
Taruskin, Richard. 2010. Music in the Early Twentieth Century. New York: Oxford University Press. {GB}
______________. 2010. Music in the Late Twentieth Century. New York: Oxford University Press. {GB}
Taruskin, Richard and Christopher H. Gibbs. 2013. The Oxford History of Western Music, College Edition. New York: Oxford University Press.
Watkins, Glenn. 1994. Pyramids at the Louvre: Music, Culture, and Collage from Stravinsky to the Postmodernists. Cambridge: Harvard University Press. {GBd}
____________. 1998. Soundings: Music in the Twentieth Century: New York: Schirmer. {GBd}
Whittall, Arnold. 2003. Exploring Twentieth-Century Music: Tradition and Innovation. New York: Cambridge University Press. {GB}
____________.
2000. Musical Composition in the Twentieth Century. New York: Oxford University Press. {GBd}

Aesthetics & Criticism
Albright, Daniel. 2004. Modernism and Music: An Anthology of Sources. Chicago: University of Chicago Press. {GB}
Babbitt, Milton and Stephen Perles. 2003. The Collected Essays of Milton Babbitt. Princeton, Princeton University Press. {GB}
Bernstein, Leonard. 1981. The Unanswered Question: Six Talks at Harvard. Cambridge, MA: Harvard University Press. {GB}
Boulez, Pierre. 1968. Notes of an Apprenticeship. New York: Knopf. {GBd}
___________. 1981. Orientations. London: Faber and Faber. {GB}
Cage, John. 1961. Silence: Lectures and Writings. Middletown, CT: Wesleyan. {GB}
Cowell, Henry. 1930/1996. New Musical Resources. Cambridge: Cambridge University Press {GB}
Cox, Christopher and Daniel Warner, ed. 2004. Audio Culture: Readings in Modern Music. New York: Continuum. {GBd}
Duckworth, William. 1999. Talking Music. New York: Da Capo. {GB}
Gann, Kyle. 2006. Music Downtown: Writings from the Village Voice. Berkeley: University of California Press. {GB}
Gloag, Kenneth. 2012. Postmodernism in Music (Cambridge Introductions to Music). New York: Cambridge University Press. {GB}
Grant, M.J. 2005. Serial Music, Serial Aesthetics: Compositional Theory in Post-War Europe. New York: Cambridge University Press. {GB}
Johnson, Steven, ed. 2002. The New York Schools of Music and Visual Arts: John Cage, Morton Feldman. New York: Routledge. {GBd}
Johnston, Ben. 2006. Maximum Clarity and Other Writings on Music. Champaign: University of Illinois Press. {GB}
Maconie, Robin, ed. 1989. Stockhausen on Music: Lectures and Interviews. New York: Marion Boyers. {GBd}

Morgan, Robert. ed. 1998. The Twentieth Century. Source Readings in Music History. New York: Norton. {GB}
Reich, Steve and Paul Hillier, ed. 2004. Writings on Music, 1965-2000. New York: Oxford University Press. {GB; EBSCO}

Reynolds, Roger. 2005. Mind Models: New Forms of Musical Experience. New York: Routledge.
Schaefer, Pierre. 2012. In Search of Concrete Music. Berkeley: University of California Press. {GBd}
Schnittke, Alfred. 2002. A Schnittke Reader. Bloomington: Indiana University Press. {GB}
Stockhausen, Karlheinz and Robin Maconie. 2000. Stockhausen on Music. Marion Boyars Publishers Ltd.
Varga, Bálint András. 2011. Three Questions for Sixty-Five Composers. Rochester: University of Rochester Press. {GB}
Xenakis, Iannis. 1992. Formalized Music: Thought and Mathematics in Composition, Pendragon Revised Edition. Hillsdale, NY: Pendragon. {GB}

ACLS - ACLS electronic book

AS - Alexander Street Press Classical Scores Library

GB - Google Books preview; GBd - Google Books description

JSTOR - Journal article available via USC's JSTOR subscription

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Updated: May 21, 2018

Reginald Bain | University of South Carolina | School of Music
http://in.music.sc.edu/fs/bain/vc/musc725/