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New music theatre in Europetransformations between 1955-1975 /

Record Type:	Electronic resources : Monograph/item
Title/Author:	New music theatre in Europeedited by Robert Adlington.
Reminder of title:	transformations between 1955-1975 /
other author:	Adlington, Robert.
Published:	Abingdon, Oxon ;Routledge,2019.
Description:	1 online resource (xv, 331 p.) :ill.
Subject:	Music theaterHistory and criticism.20th centuryEurope
Online resource:	https://www.taylorfrancis.com/books/9780429451669
ISBN:	0429451660$q(electronic bk.)

New music theatre in Europetransformations between 1955-1975 /
New music theatre in Europetransformations between 1955-1975 /[electronic resource] :edited by Robert Adlington. - Abingdon, Oxon ;Routledge,2019. - 1 online resource (xv, 331 p.) :ill. - Musical cultures of the twentieth century.

Cover; Half Title; Series Page; Title Page; Copyright Page; Table of Contents; List of figures, tables, and music examples; Figures; Tables; Music examples; Notes on contributors; Acknowledgements; Introduction: why 'new music theatre' now?; Why new music theatre now?; Overview of the volume; References; PART I: Between the avant-gardes: new music theatre and new conceptions of drama; Chapter 1: The definition of a new performance code: from the avant-garde to 'new theatre'; The rise of the avant-garde and the European scenario; The Italian case; Cultural alignment and new theatre

Between 1955 and 1975 music theatre became a central preoccupation for European composers digesting the consequences of the revolutionary experiments in musical language that followed the end of the Second World War. The 'new music theatre' wrought multiple, significant transformations, serving as a crucible for the experimental rethinking of theatrical traditions, artistic genres, the conventions of performance, and the composer's relation to society. This volume brings together leading specialists from across Europe to offer a new appraisal of the genre. It is structured according to six themes that investigate: the relation of new music theatre to earlier and contemporaneous theories of drama; the use of new technologies; the relation of new music theatre to progressive politics; the role of new venues and environments; the advancement of new conceptions of the performer; and the challenges that new music theatre lays down for music analysis. Contributing authors address canonical works by composers such as Berio, Birtwistle, Henze, Kagel, Ligeti, Nono, and Zimmermann, but also expand the field to figures and artistic developments not regularly represented in existing music histories. Particular attention is given to new music theatre as a site of intense exchange - between practitioners of different art forms, across national borders, and with diverse mediating institutions.

ISBN: 0429451660$q(electronic bk.)Subjects--Topical Terms:

974472
Music theater
--History and criticism.--Europe--20th centuryIndex Terms--Genre/Form:

214472
Electronic books.

LC Class. No.: ML1720.5

Dewey Class. No.: 782.1094/09045

New music theatre in Europetransformations between 1955-1975 /
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245 0 0 $a New music theatre in Europe $h [electronic resource] : $b transformations between 1955-1975 / $c edited by Robert Adlington.
260 $a Abingdon, Oxon ; $a New York, NY : $b Routledge, $c 2019.
300 $a 1 online resource (xv, 331 p.) : $b ill.
490 1 $a Musical cultures of the twentieth century
505 0 $a Cover; Half Title; Series Page; Title Page; Copyright Page; Table of Contents; List of figures, tables, and music examples; Figures; Tables; Music examples; Notes on contributors; Acknowledgements; Introduction: why 'new music theatre' now?; Why new music theatre now?; Overview of the volume; References; PART I: Between the avant-gardes: new music theatre and new conceptions of drama; Chapter 1: The definition of a new performance code: from the avant-garde to 'new theatre'; The rise of the avant-garde and the European scenario; The Italian case; Cultural alignment and new theatre
505 8 $a Open work and scenic writingNew theatre's tradition and permanency; References; Chapter 2: Total theatre and music theatre: tracing influences from pre- to post-war avant-gardes; Parameters and totality in experimental music theatre; Totalitarian aesthetics? Opera discourse and experimental music theatre; Hidden references: Zimmermann's opera as total theatre; Overwhelming: the immersion of the spectator-listener; Theatre music -- music as part of the total theatre?; Politically committed music theatre: using the total theatre space; Conclusion: no need to re-establish the term 'total theatre'
505 8 $a Chapter 5: Composing new media: magnetic tape technology in new music theatre, c. 1950-1970'Medialisierung': music theatre historiography and new media; Technology/media in theory and on stage; Tape in opera. Extending . . .; Appendix; References; PART III: The critique of established power; Chapter 6: Guerrilla in the polder: music-theatrical protests in the Low Countries, 1968-1969; Hyperion in Brussels: divergent visions of artistic engagement; Che in Amsterdam: the tactics of subsidised subversion; Conclusion; Appendix: Tentative reconstruction of Hyperion en het Geweld; Acknowledgements
520 $a Between 1955 and 1975 music theatre became a central preoccupation for European composers digesting the consequences of the revolutionary experiments in musical language that followed the end of the Second World War. The 'new music theatre' wrought multiple, significant transformations, serving as a crucible for the experimental rethinking of theatrical traditions, artistic genres, the conventions of performance, and the composer's relation to society. This volume brings together leading specialists from across Europe to offer a new appraisal of the genre. It is structured according to six themes that investigate: the relation of new music theatre to earlier and contemporaneous theories of drama; the use of new technologies; the relation of new music theatre to progressive politics; the role of new venues and environments; the advancement of new conceptions of the performer; and the challenges that new music theatre lays down for music analysis. Contributing authors address canonical works by composers such as Berio, Birtwistle, Henze, Kagel, Ligeti, Nono, and Zimmermann, but also expand the field to figures and artistic developments not regularly represented in existing music histories. Particular attention is given to new music theatre as a site of intense exchange - between practitioners of different art forms, across national borders, and with diverse mediating institutions.
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