Over three decades, Paul Griffiths's survey has remained the
definitive study of music since the Second World War; this fully revised
and updated edition re-establishes Modern Music and After as
the preeminent introduction to the music of our time. The disruptions
of the war, and the struggles of the ensuing peace, were reflected in
the music of the time: in Pierre Boulez's radical reformation of
compositional technique and in John Cage's development of zen music; in
Milton Babbitt's settling of the serial system and in Dmitry
Shostakovich's unsettling symphonies; in Karlheinz Stockhausen's
development of electronic music and in Luigi Nono's pursuit of the
universally human, in Iannis Xenakis's view of music as sounding
mathematics and in Luciano Berio's consideration of it as language. The
initiatives of these composers and their contemporaries opened prospects
that haven't yet stopped unfolding.
This constant expansion of
musical thinking since 1945 has left us with no singular history of
music; Griffiths's study accordingly follows several different paths,
showing how and why they converge and diverge. This new edition of Modern Music and After
discusses not only the music of the fifteen years that have passed
since the previous edition, but also the recent explosion of scholarly
interest in the latter half of the twentieth century. In particular, the
book has been expanded to incorporate the variety of responses to the
modernist impasse experienced by composers of the 1980s and 1990s.
Griffiths then moves the book into the twenty-first century as he
examines such highly influential composers as Helmut Lachenmann and
Salvatore Sciarrino.
For its breadth, wealth of detail, and characteristic wit and clarity, the third edition of Modern Music and After is required reading for the student and the enquiring listener.
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