Book contents
- Frontmatter
- Introduction: trajectories of twentieth-century music
- 1 Peripheries and interfaces: the Western impact on other music
- 2 Music of a century: museum culture and the politics of subsidy
- 3 Innovation and the avant-garde, 1900–20
- 4 Music, text and stage: the tradition of bourgeois tonality to the Second World War
- 5 Classic jazz to 1945
- 6 Flirting with the vernacular: America in Europe, 1900–45
- 7 Between the wars: traditions, modernisms, and the ‘little people from the suburbs’
- 8 Brave new worlds: experimentalism between the wars
- 9 Proclaiming the mainstream: Schoenberg, Berg, and Webern
- 10 Rewriting the past: classicisms of the inter-war period
- 11 Music of seriousness and commitment: the 1930s and beyond
- 12 Other mainstreams: light music and easy listening, 1920–70
- 13 New beginnings: the international avant-garde, 1945–62
- 14 Individualism and accessibility: the moderate mainstream, 1945–75
- 15 After swing: modern jazz and its impact
- 16 Music of the youth revolution: rock through the 1960s
- 17 Expanding horizons: the international avant-garde, 1962–75
- 18 To the millennium: music as twentieth-century commodity
- 19 Ageing of the new: the museum of musical modernism
- 20 (Post-)minimalisms 1970–2000: the search for a new mainstream
- 21 History and class consciousness: pop music towards 2000
- 22 ‘Art’ music in a cross-cultural context: the case of Africa
- Appendix 1 Personalia
- Appendix 2 Chronology
- Index
- References
17 - Expanding horizons: the international avant-garde, 1962–75
Published online by Cambridge University Press: 28 March 2008
- Frontmatter
- Introduction: trajectories of twentieth-century music
- 1 Peripheries and interfaces: the Western impact on other music
- 2 Music of a century: museum culture and the politics of subsidy
- 3 Innovation and the avant-garde, 1900–20
- 4 Music, text and stage: the tradition of bourgeois tonality to the Second World War
- 5 Classic jazz to 1945
- 6 Flirting with the vernacular: America in Europe, 1900–45
- 7 Between the wars: traditions, modernisms, and the ‘little people from the suburbs’
- 8 Brave new worlds: experimentalism between the wars
- 9 Proclaiming the mainstream: Schoenberg, Berg, and Webern
- 10 Rewriting the past: classicisms of the inter-war period
- 11 Music of seriousness and commitment: the 1930s and beyond
- 12 Other mainstreams: light music and easy listening, 1920–70
- 13 New beginnings: the international avant-garde, 1945–62
- 14 Individualism and accessibility: the moderate mainstream, 1945–75
- 15 After swing: modern jazz and its impact
- 16 Music of the youth revolution: rock through the 1960s
- 17 Expanding horizons: the international avant-garde, 1962–75
- 18 To the millennium: music as twentieth-century commodity
- 19 Ageing of the new: the museum of musical modernism
- 20 (Post-)minimalisms 1970–2000: the search for a new mainstream
- 21 History and class consciousness: pop music towards 2000
- 22 ‘Art’ music in a cross-cultural context: the case of Africa
- Appendix 1 Personalia
- Appendix 2 Chronology
- Index
- References
Summary
Darmstadt after Steinecke
When Wolfgang Steinecke – the originator of the Darmstadt Ferienkurse – died at the end of 1961, much of the increasingly fragile spirit of collegiality within the Cologne/Darmstadt-centred avant-garde died with him. Boulez and Stockhausen in particular were already fiercely competitive, and when in 1960 Steinecke had assigned direction of the Darmstadt composition course to Boulez, Stockhausen had pointedly stayed away. Cage’s work and significance was a constant source of acrimonious debate, and Nono’s bitter opposition to him was one reason for the Italian composer being marginalized by the Cologne inner circle as a structuralist reactionary. Other Cologne figures were starting to assert their creative personalities, and look for their place in the sun: Argentinian-born Mauricio Kagel, whose Anagrama (1959) had upstaged the premiere of Stockhausen’s Kontakte at the 1960 ISCM Festival in Cologne, was starting to rebel against Stockhausen’s assumptions of supremacy; the Hungarian György Ligeti, disenchanted by the incessant conflicts, had left Cologne for Vienna just at the moment where his own distinctive compositional voice was starting to emerge in the orchestral work Apparitions (1960); and Gottfried Michael Koenig (b. 1926), who had been Stockhausen’s right-hand man in the electronic studios since the mid-1950s, and whose Klangfiguren II (1956) had been the only work one could think of setting beside Gesang der Jünglinge, would shortly leave for Holland.
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- The Cambridge History of Twentieth-Century Music , pp. 453 - 477Publisher: Cambridge University PressPrint publication year: 2004
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