Musical Style and Genre

Marina Lobanova

Introduction; History and the present day; The problem of cultural dialogue; Section 01 1. Unprecedented Reality: Innovation, Tradition and Style in Epochs of Great Rupture; Section 01-01-01 “Something has come to an end”; Section 01-01-02 The antinomies of Baroque; Section 01-01-03 Innovation – tradition – culture; Section 01-01-04 Baroque “conservatives” and “modernists”; Section 01-01-05 Innovation in twentieth-century culture; Section 01-01-06 Tradition: the preservation and transformation of culture; Section 01-01-07 Culture and memory; Section 02 2. The Principles of Musical Poetics – Baroque and the Twentieth Century; Section 02-01-01 The concept of music; Section 02-01-02 “Music” in the age of Baroque; Section 02-01-03 “Music” in the twentieth century; Section 02-01-04 The “musica politica” of the twentieth century; Section 02-01-05 “Seeing” or “hearing”?; Section 02-01-06 Space – time – motion; Section 02-01-07 Concepts of space, time and motion in the age of Baroque; Section 02-01-08 The development of a new concept of space, time and motion: 1920s to 1930s; Section 02-01-09 Concepts of musical time in the twentieth century; Section 02-01-10 Space–time compositions in music; Section 03 3. The Formation of a New Concept of Musical Style; Section 03-01-01 The language of art in epochs of great rupture; Section 03-01-02 Music and words: new treatments; Section 03-01-03 Problems of musical syntax: Baroque – Classicism – Romanticism; Section 03-01-04 The “new musical syntax” of the twentieth century: principles and distinguishing features; Section 04 4. Problems of Musical Style: Classicism, Baroque and the Twentieth Century; Section 04-01-01 The concept of style in the age of Baroque; Section 04-01-02 New functions of musical style in the twentieth century; Section 04-01-03 The problem of style in the early decades of the twentieth century; Section 04-01-04 The “polystylistic situation” in the second half of the 1960s; Section 04-01-05 From the “polystylistic situation” to a “mixed style”; Section 05 5. The Problem of Musical Genre: Baroque, Classicism and the Twentieth Century; Section 05-01-01 “In mixto genere”; Section 05-01-02 The crisis of “absolute music” and the formation of the twentieth-century genre system; Section 05-01-03 The genre experiment; Section 05-01-04 The plurality principle; Section 05-01-05 The mixing principle; Section 05-01-06 Memory in musical genre; conclusion In Lieu of a Conclusion; New syntheses; Appendices; Tables; Diagrams; Index;