Music and Narrative Since 1900

Music and Narrative Since 1900

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This comprehensive volume offers a wide-ranging perspective on the stories that art music has told since the start of the 20th century. Contributors challenge the broadly held opinion that the loss of tonality in some music after 1900 also meant the loss of narrative in that music. To the contrary, the editors and essayists in this book demonstrate how experiments in approaching narrative in other media, such as fiction and cinema, suggested fresh possibilities for musical narrative, which composers were quick to exploit. The new conceptions of time, narrative voice, plot, and character that accompanied these experiments also had a significant impact on contemporary music. The repertoire explored in the collection ranges across a wide variety of genres and includes composers from Charles Ives and the Pet Shop Boys to Thomas Ades and Dmitri more

Product details

  • Hardback | 416 pages
  • 157.48 x 233.68 x 33.02mm | 725.74g
  • Indiana University Press
  • Bloomington, IN, United States
  • English
  • 0253006449
  • 9780253006448
  • 1,028,797

Review quote

"A triumphant demonstration of structuralism as a living force in contemporary music studies, this volume assembles some of the brightest and best to illuminate the narrative in music and the music in narrative. Klein & Reyland's rich and varied collection marks an important step for music theory's narrative turn." -Michael Spitzer, author of Music as Philosophy: Adorno and Beethoven's Late Style (IUP, 2006) "Narrative is the hot topic in musical analysis these days, and with 19 substantial pieces, the book can be recommended with enthusiasm to libraries that have holdings in music theory and analysis... Highly recommended." -Choice "[P]romotes the value of narrative analysis-and the impulse to do it-as simple common sense." -Music Theory Onlineshow more

About Nicholas Reyland

Michael L. Klein is Professor of Music Studies at Temple University and author of Intertextuality in Western Art Music (IUP 2004). Nicholas Reyland is Senior Lecturer in Music, Film Studies and Media, Communications, and Culture at Keele University. He is author of Zbigniew Preisner's Three Colors Trilogy: Blue, White, Red: A Film Score Guide (2011).show more

Table of contents

Part 1. Framing the Narrative 1. Musical Story 2. Negation and Negotiation: Plotting Narrative through Literature and Music from Modernism to Postmodernism Part 2. Theorizing Modern Musical Narrative 3. Narrative Engagement with Twentieth-Century Music: Possibilities and Limits 4. Optional Extra? Contextualizing Narrative in the Critical Interpretation of Post-tonal Composition 5. Archetypes of Initiation and Static Temporality in Contemporary Opera: Works of Francois-Bernard Mache, Pascal Dusapin, and Gualtiero Dazzi 6. Agency, Determinism, Focal Time Frames, and Processive Minimalist Music 7. Musical Prose and Musical Narrativity in the Fin de Siecle 8. Narrative Nostalgia: Modern Art Music off the Rails Part 3. Interpreting Modern Musical Narrative 9. Agency Effects in the Instrumental Drama of Musgrave and Birtwistle Rupprecht 10. Narrativities in the Music of Thomas Ades: The Piano Quintet and Brahms 11. Britten's Serenade and the Politico-Moral Crises of the Wartime Conjuncture: Hermeneutic and Narrative Notes on the "Nocturne" 12. Identity, Time, and Narrative in Three Songs about AIDS by the Pet Shop Boys 13. A Story of Violence: A Guitar Improvisation as a Narrative about Embodied Listening 14. Ives and the Now 15. Narrativity, Descriptivity, and Secondary Parameters: Ecstasy Enacted in Salvatore Sciarrino's Infinito nero 16. The Tropes of Desire and Jouissance in Kaija Saariaho's L'amour de loin 17. Expressive Doubling and the Narrative of Rebirth in Shostakovich's String Quartet No. 3, op. 73 18. Afterlife of an Archetype: Prokofiev and the Art of Subversion 19. Identity Formation in Webern's Six Pieces for Large Orchestra, op. 6 \ List of Contributors Indexshow more

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