"His reports of encounters with such composers as Taneyev, Glazunov, Scriabin, Stravinsky, Hindemith, Frommel, and David, and his thorough discussion of tonal systems and compositional methods reflect the approach and critical response to many procedures typical of music of the era.

Most histories of American music have ignored the presence of twelve-tone music before and during the Second World War, and virtually all have ignored its presence after 1970, even though so many major composers continued (and continue) to compose serially. This book provides a comprehensive history of twelve-tone music in America, and compels a revised picture of American music since 1925 as a dynamic steady-state within which twelve-tone serialism has long been, and still remains, a persistent presence: a vigorous and unbroken tradition for more than eighty years. Straus outlines how, instead of a rigid orthodoxy, American twelve-tone music is actually a flexible, loosely-knit cultural practice. The book provides close readings of thirty-seven American twelve-tone works by composers including Copland, Babbitt, Stravinsky and Carter, among many others, who represent a typically American diversity of background and life circumstances, and strips away the many myths surrounding twelve-tone music in America.

The challenge, in twentieth-century music, to the normative status of triadic tonality is one of the most far-reaching and extreme revolutions that the history of music has known. In his classic work, Twelve-Tone Tonality, George Perle argues that the seemingly disparate styles of post-triadic music in fact share common structural elements. According to Perle, these elements collectively imply a new tonality as "natural" and coherent as the major-minor tonality that was the basis of a common musical language in the past. His book describes the foundational assumptions of this post-diatonic tonality and illustrates its compositional functions with numerous musical examples. The second edition of Twelve-Tone Tonality is enlarged by eleven new chapters. Some of these are "postscripts" to earlier chapters, clarifying, elucidating, and expanding upon concepts discussed in the original edition. Others discuss new developments in the theory and practice of twelve-tone tonality, including voice-leading implications of the system and dissonance treatment. Errors discovered in the original edition have been corrected. - Jacket flap.

Reveals the great twentieth-century Italian composer's innovative handling of harmony, form, and text setting.

Jack Boss presents detailed analyses of Arnold Schoenberg''s twelve-tone pieces, bringing the composer''s ''musical idea'' - problem, elaboration, solution - to life.

From Grammy-winning musical icon and legendary bassist Victor L. Wooten comes an inspiring parable of music, life, and the difference between playing all the right notes…and feeling them. The Music Lesson is the story of a struggling young musician who wanted music to be his life, and who wanted his life to be great. Then, from nowhere it seemed, a teacher arrived. Part musical genius, part philosopher, part eccentric wise man, the teacher would guide the young musician on a spiritual journey, and teach him that the gifts we get from music mirror those from life, and every movement, phrase, and chord has its own meaning...All you have to do is find the song inside. “The best book on music (and its connection to the mystic laws of life) that I've ever read. I learned so much on every level.”—Multiple Grammy Award–winning saxophonist Michael Brecker