The Routledge Research Companion to Modernism in Music

Introduction Bjoern Heile and Charles Wilson

Part I Foundations

1: The Birth of Modernism - Out of the Spirit of Comedy James R. Currie

2: What Was Contemporary Music? The New, the Modern and the Contemporary in the International Society for Contemporary Music (ISCM) Sarah Collins

3: Institutions, Artworlds, New Music Martin Iddon

4: Modernism and History David J. Code

5: Musical Modernity, the Beautiful and the Sublime Edward Campbell

Part II Positions

6: Reactive Modernism J. P. E. Harper-Scott

7: Musical Modernism, Global: Comparative Observations Bjoern Heile

8: Musical Modernism and Exile: Cliche as Hermeneutic Tool Eva Moreda Rodriguez

9: Modernism: The People's Music? Robert Adlington

10: Modernism for and of the Masses? On Popular Modernisms Stephen Graham

11: Times Like the Present: De-limiting Music in the Twenty-First Century Charles Wilson

12: The Composer as Communication Theorist M.J. Grant

13: How Does Modernist Music Make You Feel? Between Subjectivity and Affect Trent Leipert

Part III Practices

14: Between Modernism and Postmodernism: Structure and Expression in John Adams, Kaija Saariaho and Thomas Ades Alastair Williams

15: Foundations and Fixations: Continuities in British Musical Modernism Arnold Whittall

16: The Balinese Moment in the Montreal New Music Scene as a Regional Modernism Jonathan Goldman

17: Vers une ecriture liminale: Serialism, Spectralism and Ecriture in the Transitional Music of Gerard Grisey Liam Cagney

18: Contemporary Opera and the Failure of Language Amy Bauer

19: 'Es klang so alt und war doch so neu!': Modernist Operatic Culture through the Prism of Staging 'Die Meistersinger von Nuernberg' Mark Berry

20: The Modernism of the Mainstream: An Early Twentieth-Century Ideology of Violin Playing Stefan Knapik