000			02029nam a22003137a 4500
001			sulb-eb0015737
003			BD-SySUS
005			20160405134443.0
008			110225s2013||||enk o ||1 0|eng|d
020			_a9781139034081 (ebook)
020			_z9780521877596 (hardback)
040			_aUkCbUP _beng _erda _cUkCbUP
050	0	0	_aML275.5 _b.W55 2013
082	0	0	_a780.943/09045 _223
100	1		_aWilliams, Alastair, _eauthor.
245	1	0	_aMusic in Germany since 1968 / _cAlastair Williams.
264		1	_aCambridge : _bCambridge University Press, _c2013.
300			_a1 online resource (290 pages) : _bdigital, PDF file(s).
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
490	0		_aMusic since 1900
500			_aTitle from publisher's bibliographic system (viewed on 04 Apr 2016).
520			_aMusic in Germany since 1968 modifies the dominant historiography of music in post-war Germany by shifting its axis from the years of reconstruction after 1945 to the era following the events of 1968. Arguing that the social transformations of 1968 led to a new phase of music in Germany, Alastair Williams examines the key topics, including responses to serialism, music and politics, and the re-evaluation of tradition. The book devotes central chapters to Helmut Lachenmann and Wolfgang Rihm, as focal points for areas such as postmodernism, musical semiotics and action-based gestures. Further chapters widen the scope by considering the precursors and contemporaries of Rihm and Lachenmann, especially in relation to the idea of historical inclusion. Williams's study also assesses the development of the Darmstadt summer courses, addresses the significance of German reunification, and considers the role of Germany in a new stage of musical modernism.
776	0	8	_iPrint version: _z9780521877596
830		0	_aMusic since 1900.
856	4	0	_uhttp://dx.doi.org/10.1017/CBO9781139034081
942			_2Dewey Decimal Classification _ceBooks
999			_c37581 _d37581