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The Musical Language of Pierre Boulez

The Musical Language of Pierre Boulez 1 Of course, a tremendous amount of published material exists on Boulez as a writer, conductor, composer, teacher, mentor, and interpreter. Taking Jonathan Goldman's lead, here I mainly consider peer-reviewed scholarship on Boulez's published writings and compositions. 57:2, Fall 2013 DOI 10.1215/00222909-2323533 © 2013 by Yale University and works. It is this assessment of the field that motivated Jonathan Goldman to write The Musical Language of Pierre Boulez (MLPB). He writes in his preface: I felt that, more often than not, the reservations--even hostility--expressed by some critics and musicologists in the first decade of the twenty-first century were partially the result of an unjust portrayal of Boulez as a pointillistic serialist, whose aesthetic ideals could be entirely circumscribed by his works from the 1950s . . . as well as the corresponding polemical writings from the same period. . . . These judgements seemed particularly unfair in light of the major aesthetic shift which Boulez's art had undergone beginning in the 1970s, audible in musical works from Rituel in memoriam Maderna (1974­5) onwards, and "legible" in the mostly untranslated writings from his years lecturing at the Collège de France. (xv) Goldman's assessment of recent scholarship is appropriate for http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Music Theory Duke University Press

The Musical Language of Pierre Boulez

Journal of Music Theory , Volume 57 (2) – Sep 21, 2013

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References (12)

Publisher
Duke University Press
Copyright
Copyright © Duke Univ Press
ISSN
0022-2909
eISSN
1941-7497
DOI
10.1215/00222909-2323533
Publisher site
See Article on Publisher Site

Abstract

1 Of course, a tremendous amount of published material exists on Boulez as a writer, conductor, composer, teacher, mentor, and interpreter. Taking Jonathan Goldman's lead, here I mainly consider peer-reviewed scholarship on Boulez's published writings and compositions. 57:2, Fall 2013 DOI 10.1215/00222909-2323533 © 2013 by Yale University and works. It is this assessment of the field that motivated Jonathan Goldman to write The Musical Language of Pierre Boulez (MLPB). He writes in his preface: I felt that, more often than not, the reservations--even hostility--expressed by some critics and musicologists in the first decade of the twenty-first century were partially the result of an unjust portrayal of Boulez as a pointillistic serialist, whose aesthetic ideals could be entirely circumscribed by his works from the 1950s . . . as well as the corresponding polemical writings from the same period. . . . These judgements seemed particularly unfair in light of the major aesthetic shift which Boulez's art had undergone beginning in the 1970s, audible in musical works from Rituel in memoriam Maderna (1974­5) onwards, and "legible" in the mostly untranslated writings from his years lecturing at the Collège de France. (xv) Goldman's assessment of recent scholarship is appropriate for

Journal

Journal of Music TheoryDuke University Press

Published: Sep 21, 2013

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