Ce volume se propose dillustrer les villas qui cotoient le Naviglio Brenta; telles quelles se preacute;sentaient au XVIIIᵉ siegrave;cle et telles que nous pouvons les admirer aujourdhui en sillonnant les eaux de lantique fleuve agrave; bord du "Burchielllo"; de Padoue agrave; Venise et vice-versa; dAvril agrave; Octobre; quand la nature complegrave;te la beauteacute; architecturale subjective de tant deacute;difices sur cette terre veacute;nitienne.
#1454448 in eBooks 2014-09-25 2014-09-25File Name: B00NEJ6JT0
Review
0 of 0 people found the following review helpful. Exploring the Aura of an EraBy David EatonIve read quite a bit Of Richard Taruskin over the years and though I dont always agree with his commentaries; he remains perhaps the most insightful of contemporary music historians.For those looking for a routine chronicle of facts; names and compositions of the late 20th century; this is not for you. What Taruskin goes for (and he explains this in the books introduction); are the underlying/overarching rationales and ideological premises behind the motivations and intentions of composers; theorists; academics and other historians. And he does this with astonishing detail.In various essays in his book "The Dangers of Music;" he alludes to how "the liberatory vibe of the dialectic;" affected the thinking of composers and theorists in the post-WW II era. In this book he emphasizes the influence of the Cold War on the mid-century modernists and their creative endeavors. Ideology played heavily into the aura-of-the-era and its fascinating to get a glimpse into that particular aspect of modern music and those who created it.References to musical cognition and pyscho-acoustics vis-a-vis the research of Fred Lerdahl (Columbia University) and Ray Jackendoff (Tufts University) has long been an important narrative to Taruskin and he includes a synopsis of their contributions in the context of how indeterminacy has affected the appreciation (or lack of such) of modern music.The opening chapter on Boulez; Adorno; Ligeti; the Darmstadt conferences; et.al.; is rich in what might be little-known to the casual observer of modernity. This might seem to be highly esoteric to some readers; but for those seeking more than just "facts;" Taruskins contextualizations are supported by copious details and references by those who were charting the course for contemporary music---Boulez; Cage; Stockhausen; Xenakis; Babbitt; Berio; Ussachevsky; IRCAM; the Minimalists; Harry Partch; Elliot Carter; Bang on a Can; Tan Dun; Zappa; Queen and Emerson; Lake and Palmer; Beat Poets; Brian Eno; Laurie Anderson; the Beatles; Ravi Shankar; Arvo Pauml;rt---Taruskin covers a lot of territory.The information provided is quite daunting; but its a fascinating read.0 of 0 people found the following review helpful. five starsBy Maria PopeI had recently read Hans Stuckenschmidts "Twentieth Century Music" and was hoping to find the same disciplined; concise summary of important composers and collectives; but for more recent years; and from an American perspective; perhaps. Initially; I wrote to Taruskin; thinking perhaps the fault was in an inadequate index; and heard back; "I refused to write a telephone directory."2 of 3 people found the following review helpful. Very good!!! No musical examples but thorough workBy JUAN CARLOS BIGLIAI liked the easy but academic reading and the focus in the second half of the 20th century. It begins with Darmstadt after the II War and in ten chapters reaches the end of the millennium. It continues the History of Western Music (Burkholder; Grout; Palisca) that I appreciate very much.I am pleased because it contains no biographical anecdotes but focuses on compositions; analyzing its most characteristic features.I think that the lack of musical examples is its weak point; but its a very interesting and thorough work. It contains scores but its reading is not essential just obviously enriching.In summary: a highly recommended book.PS: I dont like that notes are not found at the foot of page but at the end of the book!
