Twentieth Century Music and the Question of Modernity

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Notes

¹ See, for instance, Edward Said, ‘Interview’, Diacritics 6/3 (1976), 47.

² Robert P. Morgan, Twentieth-Century Music: A History of Musical Style in Modern Europe and America (New York: Norton, 1991).

³ Jacques Attali, Noise: The Political Economy of Music. Translation of Bruits: Essai Sur L'économie Politique De La Musique (Paris: Presses Universitaires de France, 1977; Minneapolis: University of Minnesota Press, 1985, 1997).

⁴ Quoted by de la Fuente from Luciano Berio Two Interviews, ed. David Osmond-Smith (New York: Marion Boyars, 1983).

⁵ Quoted on p. 81 from John Rockwell, All American Music: Composition in the Late Twentieth Century (New York: Da Capo Press, 1997).

⁶ Weber quoted on p. 82.

⁷ Karlheinz Stockhausen, Stockhausen—Festival of Hits (LP 2538 152, Deutsche Grammophon, 1974).

Additional information

Notes on contributors

Christina Gier

Christina Gier is Assistant Professor of Musicology at the University of Alberta. She researches gender and music in various twentieth-century musical contexts. She is currently working on a book project about the musical practices of American civilians and soldiers during the First World War. Christina has also published articles on the modernist aesthetics of Alban Berg and his ideas about gender discourse in fin-de-siècle Vienna. Her articles appear in the Journal of Musicological Research, Women and Music, and Musica Humana, in the book Anxiety Muted (Oxford University Press, 2012) and in a German collection on music's function during the First World War. Email: [email protected]