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Pierre Boulez Studies
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    Pierre Boulez Studies
    • Online ISBN: 9781107477216
    • Book DOI: https://doi.org/10.1017/CBO9781107477216
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Book description

Pierre Boulez is acknowledged as one of the most important composers in contemporary musical life. This collection explores his works, influence, reception and legacy, shedding new light on Boulez's music and its historical and cultural contexts. In two sections that focus firstly on the context of the 1940s and 1950s and secondly on the development of the composer's style, the contributors address recurring themes such as Boulez's approach to the serial principle and the related issues of form and large-scale structure. Featuring excerpts from Boulez's correspondence with a range of his contemporaries here published for the first time, the book illuminates both Boulez's relationship with them and his thinking concerning the challenges which confronted both him and other leading figures of the European avant-garde. In the final section, three chapters examine Boulez's relationship with audiences in the United Kingdom, and the development of the appreciation of his music.

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This list contains references from the content that can be linked to their source. For a full set of references and notes please see the PDF or HTML where available.


Arved Ashby . ‘Schoenberg, Boulez, and Twelve-Tone Composition as “Ideal Type”.’ Journal of the American Musicological Society 54/3 (2001), pp. 585625.

Antonio Sergio Bessa . ‘Sound as Subject: Augusto de Campos’s Poetamenos.’ In Marjorie Perloff and Craig Dworkin (eds.), The Sound of Poetry/The Poetry of Sound. University of Chicago Press, 2009, pp. 219–36.

Georgina Born . Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde. Berkeley: University of California Press, 1995.

Pierre Bourdieu . ‘La production de la croyance.’ Actes de la Recherche en Sciences Sociales 13/1 (1977), pp. 343.

Michael Cherlin . Schoenberg’s Musical Imagination. Cambridge University Press, 2007.

David Clarke . The Music and Thought of Michael Tippett: Modern Times and Metaphysics. Cambridge University Press, 2001.

David Gable . ‘Ramifying Connections: An Interview with Pierre Boulez.’ The Journal of Musicology 4/1 (1985), pp. 105–13.

David Gable . ‘Boulez’s Two Cultures: the Post-War European Synthesis and Tradition.’ Journal of the American Musicological Society 43/3 (1990), pp. 426–56.

Paul Griffiths . ‘Two Pianos.’ The Musical Times 114 (1973), p. 390.

Erling E. Guldbrandsen Pierre Boulez in Interview, 1996’ (four interviews). Tempo 65/255258 (2011).

Erling E. Guldbrandsen Playing with Transformations: Pierre Boulez’s “Improvisation III sur Mallarmé”.’ In E. E. Guldbrandsen and Julian Johnson (eds.), Transformations of Musical Modernism. Cambridge University Press, 2015.

Robert Hanson . ‘Webern’s Chromatic Organisation.’ Music Analysis 2/2 (July 1983), pp. 135–49.

Stephen Hinton . ‘The Emancipation of Dissonance: Schoenberg’s Two Practices of Composition.’ Music and Letters 91/4 (2010), pp. 568–79.

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Robert Holub . ‘Reception Theory: School of Constance.’ In Raman Selden (ed.), The Cambridge History of Literary Criticism, vol. viii, From Formalism to Poststructuralism. Cambridge University Press, 1995, pp. 319–46.

Martin Iddon . New Music at Darmstadt: Nono, Stockhausen, Cage, and Boulez. Cambridge University Press, 2013.

Lisa Jakelski . ‘Witold Lutosławski and the Ethics of Abstraction.’ Twentieth-Century Music 10/2 (September 2013), pp. 169202.

Catherine Losada . ‘Isography and Structure in the Music of Boulez.’ Journal of Mathematics and Music 2/3(2008): 135–55.

Catherine Losada . ‘Complex Multiplication, Structure, and Process: Harmony and Form in Boulez’s Structures II.’ Music Theory Spectrum 36/1 (2014), pp. 86120.

Peter O’Hagan . ‘Pierre Boulez and the Project of L’Orestie.’ Tempo 61/241 (2007), pp. 3452.

Peter O'Hagan . ‘From Sketch to Score: A Facsimile Edition of Boulez's “Le Marteau sans maître”.’ Music and Letters 88/4 (2007), pp. 632–44.

Ben Parsons . ‘Arresting Boulez: Post-War Modernism in Context.’ Journal of the Royal Musical Association 129/1 (2004), pp. 161–76.

Julie Pedneault-Deslauriers . ‘Pierrot L.’ Journal of the American Musicological Society 64/3 (2011), pp. 601–45.

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Mary Roriche . ‘Passing through the Screen: Pierre Boulez and Michel Foucault.’ Journal of Literary Studies 22/3–4 (2006), pp. 294321.

Nicholas Ruwet . ‘Contradictions du langage sériel.’ Revue Belge de Musicologie 13 (1959), pp. 8397.

Bryan Simms . The Atonal Music of Arnold Schoenberg, 1908–1923. New York: Oxford University Press, 2000.

Maynard Solomon . ‘Beethoven’s Ninth Symphony: The Sense of an Ending.’ Critical Inquiry 17/2 (Winter 1991), pp. 289305.

Leslie A. Sprout The 1945 Stravinsky Debates: Nigg, Messiaen, and the Early Cold War in France.’ The Journal of Musicology 26/1 (2009), pp. 85131.

Leslie A. Sprout The Musical Legacy of Wartime France. Berkeley, Los Angeles and London: University of California Press, 2013.

Colin C. Sterne Pythagoras and Pierrot: An Approach to Schoenberg’s Use of Numerology in the Construction of “Pierrot Lunaire”.’ Perspectives of New Music 21/1/2 (1982), pp. 506–34.

Karlheinz Stockhausen . ‘Musique dans l’espace.’ Revue belge de musicologie 13/1–4 (1959), pp. 7682.

Robin Stowell . The Cambridge Companion to the String Quartet. Cambridge University Press, 2003.

Joseph Nathan Straus . Extraordinary Measures: Disability in Music. New York: Oxford University Press, 2011.

W. Dean Sutcliffe . ‘Haydn, Mozart and their Contemporaries.’ In Robin Stowell (ed.), The Cambridge Companion to the String Quartet. Cambridge University Press, 2003.

Wayne C. Wentzel Dynamic and Attack Associations in Boulez’s Le Marteau sans maître.’ Perspectives of New Music 29/1 (1991), pp. 142–70.

Steven D. Winick Symmetry and Pitch-Duration Associations in Boulez’s Le Marteau sans maître.’ Perspectives of New Music 24/2 (1986), pp. 280321.

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