About this product

Product Identifiers

PublisherCambridge University Press

ISBN-100521827337

ISBN-139780521827331

eBay Product ID (ePID)57198750

Product Key Features

Number of Pages302 Pages

Publication NameLigeti, Kurtag, and Hungarian Music During the Cold War

LanguageEnglish

SubjectHistory & Criticism, General, Ethnic

Publication Year2007

TypeTextbook

AuthorRachel Beckles Willson

Subject AreaMusic

SeriesMusic in the Twentieth Century Ser.

FormatHardcover

Dimensions

Item Height0.7 in

Item Weight26.1 Oz

Item Length10 in

Item Width7 in

Additional Product Features

Intended AudienceScholarly & Professional

ReviewsReview of the hardback: 'In Beckles Willson's hands this whole scene comes to life and takes shape. â€¦ As for the musical discussions and evaluations, these, too, are often stimulating â€¦' The Slavonic and East European Review, "Rachel Beckles Wilson has produced a remarkable achievement. ...for those interested in a better understanding of how music and competing as well as complementary ideas about it evolved in Budapest during the latter half of the twentieth-century, the pages of Ligeti, Kurtag, and Hungarian Music during the Cold War will prove to be richly rewarding." --Current Musicology, Review of the hardback: 'In Beckles Willson's hands this whole scene comes to life and takes shape. ... As for the musical discussions and evaluations, these, too, are often stimulating ...' The Slavonic and East European Review, 'In Beckles Willson's hands this whole scene comes to life and takes shape. ... As for the musical discussions and evaluations, these, too, are often stimulating ...' The Slavonic and East European Review

Dewey Edition22

Series Volume NumberSeries Number 23

IllustratedYes

Dewey Decimal780.943909045

Table Of ContentIntroduction; Part I: 1. After 1920: on land, language and music; 2. After 1945: a new empire forms; Part II: 3. After 1956: parted ways; 4. After 1968: Budapest, Kurtág, events; 5. After the west: Ligeti looks back; 6. After Budapest: out of Hungary?; Epilogue: on 'Hungary', and (our) longing for Moscow; Personalia.

SynopsisDrawing on key elements from musical thought in inter-war Hungary, this 2007 book provides a unique perspective on the nation's musical heritage both inside and outside Hungary's borders during the Cold War. Although Ligeti became part of the Western avant-garde after he left Hungary in 1956, archival sources illuminate his ongoing contact with Hungarian musicians, and their shifting perspective on his work. Kurtág's music was more obviously involved with Hungarian traditions, was entangled with the Soviet occupation, and was a contributing part of the city's diverse musical culture. However, from the mid-1960s onwards, critics identified his music as an artistic and moral 'truth' distinct from the broader musical life of Budapest: it was an idealized symbol of life beyond the everyday in Hungary. Grounding her interpretations of works in these complex political circumstances, Beckles Willson is nonetheless sympathetic to arguments by Ligeti, Kurtág and Budapest music critics that their music might have a life beyond nationalist and Cold War ideology., Drawing on key elements from musical thought in interwar Hungary, this book provides a new perspective on the nation?'s musical heritage both inside and outside Hungary?'s borders during the Cold War. Although Ligeti became part of the Western avant-garde after he left Hungary in 1956, archival sources illuminate his ongoing contact with Hungarian musicians, and their shifting perspective on his work. Kurt'g?'s music was more obviously involved with Hungarian traditions, was entangled with the Soviet occupation, and was a contributing part of the city?'s diverse musical culture. However, from the mid-1960s onwards, critics identified his music as an artistic and moral ?truth? distinct from the broader music life of Budapest: it was an idealised symbol of life beyond the everyday in Hungary. Beckles Willson is sympathetic to arguments by Ligeti, Kurt'g, and Budapest music critics that their music might have a life beyond nationalist and Cold War ideology., Drawing on key elements from musical thought in inter-war Hungary, this 2007 book provides a unique perspective on the nation's musical heritage during the Cold War. Although Ligeti became part of the Western avant-garde after he left Hungary in 1956, archival sources illuminate his ongoing contact with Hungarian musicians, and their shifting perspective on his work., Drawing on key elements from musical thought in inter-war Hungary, this 2007 book provides a unique perspective on the nation's musical heritage both inside and outside Hungary's borders during the Cold War. Although Ligeti became part of the Western avant-garde after he left Hungary in 1956, archival sources illuminate his ongoing contact with Hungarian musicians, and their shifting perspective on his work. Kurtag's music was more obviously involved with Hungarian traditions, was entangled with the Soviet occupation, and was a contributing part of the city's diverse musical culture. However, from the mid-1960s onwards, critics identified his music as an artistic and moral 'truth' distinct from the broader musical life of Budapest: it was an idealized symbol of life beyond the everyday in Hungary. Grounding her interpretations of works in these complex political circumstances, Beckles Willson is nonetheless sympathetic to arguments by Ligeti, Kurtag and Budapest music critics that their music might have a life beyond nationalist and Cold War ideology.", Drawing on key elements from musical thought in inter-war Hungary, this 2007 book provides a unique perspective on the nation's musical heritage both inside and outside Hungary's borders during the Cold War. Although Ligeti became part of the Western avant-garde after he left Hungary in 1956, archival sources illuminate his ongoing contact with Hungarian musicians, and their shifting perspective on his work. Kurt g's music was more obviously involved with Hungarian traditions, was entangled with the Soviet occupation, and was a contributing part of the city's diverse musical culture. However, from the mid-1960s onwards, critics identified his music as an artistic and moral 'truth' distinct from the broader musical life of Budapest: it was an idealized symbol of life beyond the everyday in Hungary. Grounding her interpretations of works in these complex political circumstances, Beckles Willson is nonetheless sympathetic to arguments by Ligeti, Kurt g and Budapest music critics that their music might have a life beyond nationalist and Cold War ideology.

LC Classification NumberML248.5