Musical Composition in the Context of Globalization
New Perspectives on Music History in the 20th and 21st Century
(Sprache: Englisch)
Since the early transformation of European music practice and theory in the cultural centers of Asia, Latin America, and Africa around 1900, it has become necessary for music history to be conceived globally - a challenge that musicology has hardly faced...
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Since the early transformation of European music practice and theory in the cultural centers of Asia, Latin America, and Africa around 1900, it has become necessary for music history to be conceived globally - a challenge that musicology has hardly faced yet. This book discusses the effects of cultural globalization on processes of composition and distribution of art music in the 20th and 21st century. Christian Utz provides the foundations of a global music historiography, building on new models such as transnationalism, entangled histories, and reflexive globalization. The relationship between music and broader changes in society forms the central focus and is treated as a pivotal music-historical dynamic.
Autoren-Porträt von Christian Utz
Christian Utz is Professor of Music Theory and Analysis at the University of Music and Performing Arts Graz and an associate professor at the University of Vienna. He directed the FWF-funded research projects »A Context-Sensitive Theory of Post-tonal Sound Organization« (2012-2014) and »Performing, Experiencing and Theorizing Augmented Listening« (2017-2020).
Bibliographische Angaben
- Autor: Christian Utz
- 2021, 528 Seiten, 1 farbige Abbildungen, 148 Schwarz-Weiß-Abbildungen, Maße: 17 x 24,2 cm, Kartoniert (TB), Englisch
- Übersetzer: Laurence Sinclair Willis
- Verlag: transcript
- ISBN-10: 3837650952
- ISBN-13: 9783837650952
Sprache:
Englisch
Pressezitat
»Christian Utz' Monographie stellt auch acht Jahre nach der deutschen Erstausgabe eine beeindruckende Pionierleistung dar, an der alle kommenden Studien zur globalen Musikgeschichte gemessen werden müssen.« Stefan Menzel, Musiktheorie, 38/2 (2023) Besprochen in: Circuit, 32/1 (2022), Robert Hasegawa
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