Over three decades, Paul Griffiths''s survey has remained the definitive study of music since the Second World War; this fully revised and updated edition re-establishes Modern Music and After as the preeminent introduction to the music of our time. The disruptions of the war, and the struggles of the ensuing peace, were reflected in the music of the time: in Pierre Boulez''s radical reformation of compositional technique and in John Cage''s development of zen music; in Milton Babbitt''s settling of the serial system and in Dmitry Shostakovich''s unsettling symphonies; in Karl Stockhausen''s development of electronic music and in Luigi Nono''s pursuit of the universally human, in Iannis Xenakis''s view of music as sounding mathematics and in Luciano Berio''s consideration of it as language. The initiatives of these composers and their contemporaries opened prospects that haven''t yet stopped unfolding. This constant expansion of musical thinking since 1945 has left us with no singular history of music; Griffiths''s study accordingly follows several different paths, showing how and why they converge and diverge. This new edition of Modern Music and After discusses not only the music of the fifteen years that have passed since the previous edition, but also the recent explosion of scholarly interest in the latter half of the Twentieth Century. In particular, the third section of the book, 1980-1990, is expanded to incorporate the variety of responses to the modernist impasse experienced by composers of the time. In addition, a new fourth part, "After Postmodernism: the 1990s and 2000s," examines highly influential composers like Philip Glass and Pierre Boulez as well as such topics as "Modernist Continuation" and "Music and the Internet." For its breadth, wealth of detail, and characteristic wit and clarity, the third edition of Modern Music and After is required reading for the student and the enquiring listener.
Industry Reviews
"Recommended for all libraries serving music programs at the undergraduate level or higher. There is a wealth of information here, and few write as knowledgeably and engagingly on new music as Griffiths." --Fontes Artis Musicae
"Griffiths has done an outstanding job of making this music at least intellectually accessible. It is our job as listeners, if we seriously care, to seek it out and try to encounter it on its own terms. Highly recommended for libraries with sections on new music, composition, music theory and contemporary aesthetics/philosophy." --Music Media Monthly
"Modern Music and After remains as close a definitive survey, study, guide and analysis to its field as there is; it can be recommended without reservation. The standards of scholarship and authorship are indeed high....Production standards, are of course, high; and the price is beyond reasonable -- that alone should convince you to buy this third edition, even if you've read the earlier one(s)...the updates and referencing are significant. For a
comprehensive, readable, authoritative, entertaining, lively, open-minded and all round well-written book on the development of music in our time, there is no better." --Classical.net
"Recommended for all libraries serving music programs at the undergraduate level or higher. There is a wealth of information here, and few write as knowledgeably and engagingly on new music as Griffiths." --Fontes Artis Musicae
Praise for the first edition:
"Griffiths is excellent about a whole host of composers he admires....Any reader, enthusiast or specialist, will find much to interest and provoke. This book is probably the best of its kind in English today."--Ian Pace, Tempo: Quarterly Review of Modern Music
"Griffiths is so fluent, so practiced a writer in this field that it is understandable if the closest he gets to sceptical disengagement is in suggesting that a composer leaves critics, and even musicologists, lost for words." --Arnold Whittall, The Musical Times
"[A] marvellously thought-provoking and engaging text."--The Musical Times
"A must for the student, and also for the general reader."--The Times
"As impressive for its accuracy, as for the clarity, acumen, and wit of its writing." --Classical Music
