The Way of the Moderns gathers the talks organized by the Barry S. Brook Center of Music Research and Documentation that took place from 2012 to 2016 at The Graduate Center of The City University of New York (CUNY).

Exploring the concept of musical modernism from many different perspectives―including the audience’s often initial rejection; the dominance of popular genres; the blurring of musical genres and categories; the alleged incapacity of modernism to express feelings and its intellectual aloofness; the struggle for an audience in times of a distracting attention economy; the transition from modernist to postmodernist aesthetics; the multicultural and collaborative aspects of many recent musical creations; and the need for questioning the ethics of musical works―they present a non-systematic and yet insightful assessment of some of the crucial issues around contemporary music. The texts address the changing consumption, creation, contexts, and valuations of today’s concert music and, at the same time, highlight the agency of its practitioners―composers, performers, scholars, critics, and the audience―who pursue “the way of the moderns.”

Antoni Pizà is the director of the Foundation for Iberian Music, where he has organized dozens of events, including conferences, talks, and concerts. The Foundation is a project of the Barry S. Brook Center for Music Research and Documentation at CUNY Graduate Center. Author of many books and articles, he has also taught for over twenty-five years at CUNY and has curated the lecture series on which this publication is based.

 

Contents
Acknowledgements
List of Figures
Introduction: Modernism, A Permanent Achievement,
by Antoni Pizà

ACT I: The Challenges of Modernistic Music,
by Charles Rosen
A Conversation with Daniel J. Wakin
Audience Q&A

ACT II: We Are What We Hear, by Paul Griffiths
A Conversation with Jeffrey Milarsky

ENTRE’ACTE I: The Creative Pulse of Collaborative Aesthetics,
by Philip Glass and Claire Chase
Audience Q&A

ACT III: Walking Among Noise: Tonality, Atonality,
and Where We Go from Here, by Roger Scruton
A Conversation with Greil Marcus
Audience Q&A

ENTR’ACTE II: Strings Attached, by David Harrington and Brooke Gladstone
Audience Q&A

Act IV: The Many Dangers of Music, by Richard Taruskin
A Conversation with Scott Burnham
Audience Q&A

Index

https://www.brepols.net/products/IS-9782503597737-1

 

Based on its autograph sources, lost until recently, Gioachino Rossini: «La Veuve andalouse» presents the first and only critical edition of Rossini’s song. In addition to including a performing transcription of the music and the lyrics in all the languages of the first printed versions, this volume provides many contextual sources, such as several unknown Rossini letters, illustrations, and many contemporaneous reviews as well as other primary sources. All in all, it brings to the present a riveting scena worthy of the most celebrated opera composer of the first half of the nineteenth century.

See the publisher’s web

Authors’ interview about La Veuve

Anna Tonna’s performace of La Veuve

TABLE OF CONTENTS — SUMARIO

List of Illustrations | Lista de ilustraciones
Acknowledgments | Agradecimientos

I. The Story and Context of Rossini’s La Veuve andalouse |  La historia y el contexto de «La Veuve andalouse» de Rossini

· Some Preliminary Remarks | Algunas consideraciones preliminares

· Frontera de Valldemosa, Rossini’s Spanish Friend and La Veuve’s Dedicatee |  Frontera de Valldemosa, el amigo español de Rossini y dedicatario de «La Veuve»

· The Musical Patronage of Isabel de Borbón and La Veuve |  El patronazgo musical de Isabel de Borbón y «La Veuve»

· Documents in Contemporaneous Sources | Documentos en fuentes coetáneas

II. La Veuve andalouse

· Facsimile | Facsímil

· Music Edition | Edición musical

· Notes to the Edition | Notas a la edición

III. Performing La Veuve | La Interpretación de «La Veuve»

· Some Thoughts on the Performance of La Veuve andalouse by Anna Tonna | Reflexiones sobre la interpretación de «La Veuve andalouse» por Anna Tonna

· IPA Transcription by Anna Tonna | Transcripción IPA por Anna Tonna
Literal Translation from the French Text to Facilitate the Comprehension of the Lyrics

· Song Texts | Textos de la canción

· Original versions in French, Spanish, Italian, English and German |  Versiones originales en francés, español, italiano, inglés y alemán

Appendixes | Apéndices

i. Cast of Characters | Galería de personajes

ii. Chronology | Cronología

Bibliography and Discography | Bibliografía i discografía

The authors:

Antoni Pizà has taught at The City University of New York for over twenty-five years, where he also directs The Foundation for Iberian Music. Pizà has authored or co-edited twenty volumes, the latest being Celebrating Flamenco’s Tangled Roots: The Body Questions (Cambridge Scholars, 2022) and The Way of the Moderns: Six Perspectives on Modernism in Music (Brepols, 2022).

María Luisa Martínez holds a degree in Music History and Sciences (Universidad Autónoma de Madrid, 2005) and a PhD with International Mention in Musicology (Universidad de Jaén, 2016). Since 2015 she has been researcher at The Foundation for Iberian Music at The Graduate Center, City University of New York (CUNY). Her latest publications include La biblioteca musical particular de la infanta Isabel de Borbón (Fondo Infanta). Critical edition and catalog (SEdEM, 2019).

In addition to Gioachino Rossini: «La Veuve andalouse», as a research team with María Luisa Martínez, they have published a critical edition of Tomás Bretón: Quinteto en sol mayor para piano y cuerda (ICCMU, 2022).