- Paperback: 384 pages
- Publisher: Wiley-Blackwell (20 April 1996)
- Language English
- ISBN-10: 0631201386
- ISBN-13: 978-0631201380
- Product Dimensions: 22.1 x 16 x 2 cm
- Amazon Bestsellers Rank: 1,486,548 in Books (See Top 100 in Books)
- See Complete Table of Contents
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Product Description
Product Description
In The Blackwell Guide to Recorded Contemporary Music Brian Morton looks at nearly 150 important musical works written since 1939. In an accessible, non–technical style, he sets each in the context of its specific period and of its composer′s career, discussing in each case the best and most authoritative recorded performances and offering hints for further listening and reading. Composers discussed will range from more familiar senior figures like Olivier Messiaen, John Cage and Karlheinz Stockhausen, to younger figures like George Benjamin, Somei Satioh and Tim Brady. In addition to European and North American artists, there will be essays on works by Asian, African, South American and Australasian composers.
From the Back Cover
This is a readable and easy–to–use guide to contemporary music and its availability on record. Brian Morton describes the life and work of seventy–four leading composers. For each he selects and introduces one representative recording, and then indicates how this initial selection can be broadened and extended to other works. Full discographical details are given in all cases. The book is divided chronologically, and can be equally used as a guide or read as a history.
As a way of orientating the reader towards the variety and creativity of recent music, Brian Morton begins with a list of recordings of ten key works from the first half of the century that have had a profound influence on the music of the second half. He them discusses works by composers from all over the world; few readers will fail to make new discoveries from among his selection. In describing the composers’ work and its musical context, he assumes no specialist knowledge, and provides a glossary of those terms–such a “atonality” and “serialism”– that have been closely associated with the contemporary repertoire. He gives suggestions for further reading on the composers’ work as a whole or on the particular works in question. In the bibliography he selects a core library for those interested in finding out more about the music of the period.
Brian Morton’s aim, above all, has been to enhance the reader’s enjoyments of contemporary music. He will be found to have succeeded.
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