Author Description

This anthology contains eighteen representative examples of the particular difficulties presented by twentieth-century scores, stimulating consideration of the relationship between what is seen (the score) and what is heard (the music). The emphasis in the period before 1945 is on major composers: Mahler, Debussy, Schoenberg, Ives, Stravinsky, Bartok, Varese, Webern, and Messiaen. For the period after the Second World War the authors have chosen examples of what is new from a notational point of view in works by Cage, Boulez, Stockhausen, Penderecki, Riley, and Cardew.