
Contents
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Introduction Introduction
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The Concept of “New Music” and the Beginnings of a Performance Culture The Concept of “New Music” and the Beginnings of a Performance Culture
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Schoenberg’s Verein and Donaueschingen Schoenberg’s Verein and Donaueschingen
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International Society for Contemporary Music International Society for Contemporary Music
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National perspectives National perspectives
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Objectivism and Texttreue Objectivism and Texttreue
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Continuities and Werktreue: Bartók, Schoenberg, Kolisch, Adorno Continuities and Werktreue: Bartók, Schoenberg, Kolisch, Adorno
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A Performance Culture for the Avant-Garde, 1945–1973 A Performance Culture for the Avant-Garde, 1945–1973
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National perspectives National perspectives
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Performers and ensembles Performers and ensembles
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Debates and performance issues Debates and performance issues
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Conductors Conductors
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Reinventing instruments, techniques, voices, notation Reinventing instruments, techniques, voices, notation
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Indeterminacy Indeterminacy
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Complexity and new virtuosity Complexity and new virtuosity
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The Consolidation of New Music and Its Modest Incorporation into Mainstream Repertoire The Consolidation of New Music and Its Modest Incorporation into Mainstream Repertoire
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Social and cultural changes Social and cultural changes
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Practical Implications Practical Implications
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Kolisch Quartet and Schoenberg’s String Quartets Kolisch Quartet and Schoenberg’s String Quartets
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Peter Stadlen—Webern and Schoenberg Peter Stadlen—Webern and Schoenberg
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Boulez conducting Schoenberg Boulez conducting Schoenberg
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John Cage, Song Books John Cage, Song Books
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Helmut Lachenmann, Gran Torso Helmut Lachenmann, Gran Torso
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James Dillon, The Book of Elements James Dillon, The Book of Elements
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Approaches to performance Approaches to performance
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Key Resources Key Resources
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Reflective Questions Reflective Questions
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Acknowledgments Acknowledgments
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References References
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18 New Music: Performance Institutions and Practices
Get accessIan Pace studied at Chetham’s School of Music; Queen’s College, Oxford; the Juilliard School, where he was a Fulbright Scholar; and Cardiff University, where he completed his PhD on new music and its infrastructure in early occupied West Germany. He has combined parallel careers as a pianist specializing in new music and a musicologist, having held positions at the University of Southampton, Dartington College, and since 2010 at City University of London, where he is currently Reader in Music and Head of Department. He has published a monograph on Michael Finnissy’s The History of Photography in Sound, co-edited five other books, and published many articles and book chapters on diverse subjects. As a pianist, he has played in 25 countries, given over 300 world premieres, and recorded 35 CDs. His specialist areas include nineteenth- and twentieth-century performance practice, modernist/avant-garde aesthetics, music in Germany after 1918, practice-as-research, and critical musicology.
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Published:13 January 2022
Cite
Abstract
New music is a concept that came into prominence after the end of World War I. It connotes not just a species of musical composition, but a separate culture of music making and performance somewhat distinct from that associated with more mainstream Western art music. In this chapter, I trace the development of this culture, its institutions and global reach, alongside extensive examination of the specific challenges the music in question presents for those who perform it. The period in question is divided into three sections: 1918–1945, the establishment of “new music” as a category; 1945–c. 1975, the heyday of the avant-garde; and c. 1975–present day, associated with some degree of consolidation of new music with wider art music culture. Early “objectivist” styles of performance are contrasted with those embodying essential continuities with earlier eras, interacting with issues of Texttreue and Werktreue. The growth of the new music festival after 1945 in particular, the role of radio stations, and the new music ensemble are surveyed, alongside specific performance issues involving indeterminacy, extended techniques, and new virtuosity. The final section asks questions about the meanings and future of new music in the twenty-first century.
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