Bøger i Elements in Music since 1945 serien

Video game music is a significant site of queerness where normative demands are questioned, suspended or loosened. Games resist hegemonic musical logics, challenge musical value systems and use music to complicate essentialist notions of identity. This Element proposes three areas of queerness, each representing different relationships between 'queer design' and 'queer engagement', ranging fromunintentionally resistive to explicit engagement with identity. First, this Element examines musical structures that provide queer temporal alternatives to normative linear development, and interactive systems that reframe the power relationship between musical material and listener. Second, it considers 'retro' or 'chiptune' timbres that queer notions of technological progress to be improvements, rejecting chrononormativity. Finally, the Element discusses music that queers the self/other binary of identity. Games present ways of listening to, engaging with and understanding music that provide opportunities to challenge inherited assumptions and reductive or monolithic values, practices and identities.

Many twentieth and twenty-first century composers have written music with rhythmic structures that must be understood through a framework distinct from even, periodic meter, which has been a salient musical feature of Western classical music for centuries. This Element's analytical system outlines structure and phrasing in sections of music without even perceptible meter. Instead of entrainment to meter, Bryan Hayslett theorizes that listeners perceive rhythm in similar ways to how they perceive the rhythm of language. With gesture as the smallest organizational grouping unit, his analytical system combines Fred Lerdahl and Ray Jackendoff's generative theory of tonal music with Bruce Hayes's metrical stress theory from linguistics. The listener perceives the shape of a gesture according to the structure of its constituents, and larger-level phrasing is perceived through the hierarchical relationship of gestures. After developing a set of rules, the author provides analyses that outline temporal structure according to perceptual prominence.

This Element introduces the notion of curatorial composing to account for certain musical practices that emerged from the 1960s as the founding concepts of music as an art - instituted in the modern era - were systematically dismantled. It raises the key question of how musical value and authority might be produced without recourse to an external principle, origin, transcendental framework, or other foundation. It argues that these practices do not dismiss the issue of value or simply relativise it but shift the paradigm to a curatorial concern for composing public encounters and staging events. The Element shows that Lydia Goehr's elaboration of the work-concept provides a framework that was transformed by John Cage in his work from 0'00"e; (1962) onwards. The Element then introduces Heiner Goebbels' practice and focus on his role as Artistic Director of the Ruhrtriennale (2012-14), which it argues was an extension of his curatorial composing.

This collection of essays addresses technical developments in telecommunications and sound recording that have guided the direction of musical aesthetics in the post-1950 era. Such information is readily available online but may appear counterintuitive to many who find its priorities difficult to grasp from a musical perspective. The author hopes to draw attention to the place of ideas of communication and flight in western tradition. This Element begins with Varese and his 'noble noise', traverses the arrival of Information Theory and its influence, examples of early computer music, and ends with a defence of the sublime logic of Stockhausen's singing helicopters and tornados.

Studies of pre-existing music in narrative cinema often focus on a single film, composer or director. The approach here adopts a wider perspective, placing a specific musical repertoire - baroque music - in the context of its reception to explore its mobilisation in post-war cinema. It shows how various revivals have shaped musical fashion, and how cinema has drawn on resultant popularity and in turn contributed to it. Close analyses of various films raise issues of baroque musical style and form to question why eighteenth-century music remains an exception to dominant film-music discourses. Account is taken of changing modern performance practice and its manifestation in cinema, particularly in the biopic. This question of the reimagining of baroque repertoire leads to consideration of pastiches and parodies to which cinema has been particularly drawn, and subsequently to the role that neobaroque music has played in more recent films.

This Element offers a historical survey of the pioneering agency that the Boston Pops had under John Williams's tenure in the legitimisation of film music as a viable repertoire for concert programmes. The case study is complemented with more general discussions on the aesthetic of film music in concert.

This Element considers intersections of ambiguity, authority, and identity in works with open notations, where performers play a radical and active role as co-creators. Tristan McKay develops a semiotic approach to open notation analysis and demonstrates it with in-depth analyses of works by Earle Brown, Will Redman, and Leah Asher.

After 1951, the discourse surrounding both the Darmstadt courses in particular and European New Music more broadly shifted away from a dodecaphonic vocabulary in favour of concepts such as 'punctual music', 'post-Webern music', and 'static music', all collected under the newly-christened unity of the Darmstadt School. This study proposes a genealogy of the Darmstadt School through the institutional influence and writings of Herbert Eimert. It demonstrates that Eimert's understanding of music history - whereby technical procedures are universalised as the acme of historical progress - was adopted as the institutional discourse of New Music in Europe, and remains central to both textbook and critical scholarly accounts which attempt to make sense of the avant-garde after World War II.

This Element offers a critique of empathy's ethical imperative of radical openness and positions the acknowledgement of moral responsibility as a fundamental component of music's capacity to transform conflict through case studies of music and conflict transformation in Australia and Canada.