An Apprenticeship and Its Stocktakings
Leibowitz, Boulez, Messiaen, and the Discourse and Practice of New Music
Bibliographic Data
| ID | 21728466 |
|---|---|
| Authors | Max Erwin (0000-0002-3690-6942, corresponding author) |
| Year | 2021 |
| Volume | 18 |
| Issue | 1 |
| Pages | 71-93 |
| Publication date | 2021-02-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | twentieth-century music (JOURNAL) |
| Journal identifiers | ISSN: 1478-5722 • E-ISSN: 1478-5730 |
| Publisher | Cambridge University Press (CUP) (PUBLISHER) |
| DOI | 10.1017/s1478572220000213 |
| OpenAlex | W3087850296 |
| Language | EN |
| Citations received | 1 |
| References cited | 17 |
The textbook historical account of post-war New Music describes a logical and radical succession from Schoenberg to Webern to the Darmstadt School. Against this narrative of inevitability, I provide a more contingent account of the institutionalization of a particular discourse of New Music in the aftermath of the Second World War in Europe. What is contingent here is not so much why or how certain figures – chiefly Pierre Boulez and René Leibowitz – were important, but the shape and the logic by which this importance was established and maintained. Accordingly, this article first of all provides a summary of just what it meant for Leibowitz's understanding of New Music to be reproduced in an institutional capacity. From here, I undertake close critical reading of Boulez's break with Leibowitz in order to discover what, exactly, Boulez began to do differently to establish a new practice
Apprenticeship · Art · Linguistics · Literature · Narrative · Diverse Musicological Studies · Music History and Culture · Musicology and Musical Analysis · Philosophy
| Citations per year | 0.5 |
|---|---|
| Citation span | 2024 - 2024 (1) |
| Highly cited | No |