New Music and the Claims of Modernity

This book explores the evolution of music since 1945, focusing on modernity's influence and postmodern challenges, particularly through Adorno's philosophical lens in New Music and the Claims of Modernity.

In New Music and the Claims of Modernity, Alastair Williams delves into the evolution of music since 1945, highlighting the tension between the pursuit of progress and the challenges posed by postmodernist aesthetics. The book begins by examining the philosophical framework laid out by Theodor Adorno, who provides a critical lens through which to view modernity and its implications for music. Williams carefully navigates the developments from late Beethoven to Schoenberg, exploring how these composers serve as pivotal reference points in Adorno's musical philosophy.

As the narrative unfolds, Williams dedicates part two to a detailed analysis of the works of Pierre Boulez and John Cage. These composers exemplify contrasting yet intertwined facets of contemporary music, with Boulez emphasizing structure and Cage exploring dissolution. Williams argues that György Ligeti's compositions encapsulate the intersection of these two extremes, aligning with Adorno's vision of an inclusive aesthetic that embraces diversity within music.

In the final sections, the author reflects on the repercussions of modernism, incorporating insights from theorists like Derrida and de Man, alongside the music of Wolfgang Rihm. Conclusively, New Music and the Claims of Modernity offers a comprehensive survey of contemporary music, revealing the postmodernist inclination to incorporate a wide array of compositional influences and styles, thus enriching the ongoing dialogue in the world of music.