Music in the Early Twentieth Century: The Oxford History of Western Music

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The universally acclaimed and award-winning Oxford History of Western Music is the eminent musicologist Richard Taruskin's provocative, erudite telling of the story of Western music from its earliest days to the present. Each book in this superlative five-volume set illuminates-through a representative sampling of masterworks-the themes, styles, and currents that give shape and direction to a significant period in the history of Western music.

Music in the Early Twentieth Century , the fourth volume in Richard Taruskin's history, looks at the first half of the twentieth century, from the beginnings of Modernism in the last decade of the nineteenth century right up to the end of World War II. Taruskin discusses modernism in Germany and France as reflected in the work of Mahler, Strauss, Satie, and Debussy, the modern ballets of Stravinsky, the use of twelve-tone technique in the years following World War I, the music of Charles Ives, the influence of peasant songs on Bela Bartok, Stravinsky's neo-classical phase and the real beginnings of 20th-century music, the vision of America as seen in the works of such composers as W.C. Handy, George Gershwin, and Virgil Thomson, and the impact of totalitarianism on the works of a range of musicians from Toscanini to Shostakovich

Product Details

  • Paperback: 880 pages
  • Publisher: Oxford University Press; Revised ed. edition (July 27, 2009)
  • Language: English
  • ISBN-10: 0195384849
  • ISBN-13: 978-0195384840
  • Product Dimensions: 9.9 x 2.3 x 7 inches
  • Shipping Weight: 3.4 pounds

Customer Reviews

Worthy contribution to the entire project

One person found this helpful.
 on August 30, 2014
By mjackmm
The entire series is worthy of the extravagent praise it has received. This is the volume where my personal taste differs markedly. I also have some different views of the actual history. However, I often judge the value of a book by the enthusiasm with which I disagree. There can be no argument that Taruskin’s take on more “pop” forms of American music being part and parcel of the grander “history of western music” is an authentic and valid percdeption.

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