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studies under
Messiaen and later, private studies under Leibowitz); followed by his relocation abroad during the 1950s and 1960s to NYC and London as a pianist and conductor of the New Music, with the advancement of music by composers of non-French origins, particularly American music (e.g., C. Ives, E. Carter, M. Babbitt and S. Shifrin) and the music of Schoenberg, Webern and the serial movement (e.g., A. Berg, A. Webern, R. Gerhard, E. I. Kahn, L. Spinner, E. Krenek, L. Nono, et al.), including the music of a fellow émigré, Varèse; and thirdly, his own musical legacy as a composer and pedagogue at music schools in the Northeast during the 1970s and 1980s, primarily at Columbia University and at the Guild of Composers concerts with the advancement of a post-Schoenbergian generation of "non-experimental" polyphonic music by American composers—many who were directly associated with Monod.
463:, E. Spira, etc.). In 1960–67, "during his seven years as the conductor for the BBC Third Program, he presented a live concert broadcast of new music every Tuesday throughout the concert season. Each program was different and was broadcast internationally to a wide listening audience ... has conducted major orchestras and chamber ensembles in Europe, Scandinavia, and North and Central America" (Equinox Music CD 0101 Liner Notes). A notable performance took place on Tuesday evening, 21 December 1965 with Monod conducting the British premiere of
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the development of modern
Western polyphony: "music-synergy", wherein the interaction of two or more parts or voices in each work creates a combined effect that is greater than the sum of their individual effects. Monod's music is the subject of a doctoral study by New York-based composer Manuel Sosa's 2002 DMA dissertation for Juilliard, entitled, "Jacques-Louis Monod's Cantus Contra Cantum III : a preliminary inquiry".
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short fuse when I have to waste time on elementary things. And if possible, I like to use my own marked scores and parts. I'm talking about an ethical approach to performing, and the conditions that justify the performance of a work. If someone asks me to conduct, but cannot give me the conditions I need, well, it's very easy for me to live without conducting.
1944:
887:, evoking "the ghost of Anton Webern ... music as exquisitely beautiful as any this listener has heard in some time". And nearly thirty years later on March 3, 2017, the Association for the Promotion of New Music devoted an evening of music to Monod with a choral concert in New York City that included compositions written over the last 40 years.
414:, Op. 25, all with his then wife, Bethany Beardslee, with whom for years, they gave critically acclaimed concerts of new music with the Camera Concerts under Monod's directorship. Further, Beardslee wrote in her autobiography of another all-Webern concert given on December 28, 1952 at Kaufmann Concert Hall, located at New York City's
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relationships with aesthetically compelling results. The strict formal characteristics of his non-experimental and non-improvisational, highly controlled music requires superior technical abilities on the part of performers. Moreover, the overly-mechanical and superficial aspects exhibited in some earlier works of integral or
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and the acquisition of information, professional understanding will achieve cultural significance through the eventual enrichment of a compositional technique that will serve a broader aesthetic responsibility than that of an ideology which relegates aesthetic consideration to that of a surface event. (NWLCRL358)
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Roughly speaking, my experience has proved that you need at least one hour of rehearsal for every minute of music. Less than that, and you cannot do justice to the piece. You also need good players—ideally, I prefer musicians who have worked together, and who have worked with me before. I have a very
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The title for his extensive cycle of serial compositions composed during the course of the past forty years, namely "Cantus Contra Cantum", refers to the late-medieval concept of "line against line" as a progression beyond "punctus contra punctum", i.e., creating advanced music that is correlated to
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Monod's music is based upon historical precedents of Webern's music and represents the French school of post-WWII serialism, combined with subtle lyricism. Among his early works, only the
Chamber Aria (or the Passacaglia) from 1952 has been published. His doctoral dissertation – a second doctorate –
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In 1975, in addition to the Guild of
Composers concerts, Monod established a new music publishing firm, the Association for the Promotion of New Music (APNM), consisting of many works representative of the New York "uptown" movement and beyond. Monod, Mario Davidovsky, and Fred Lerdahl are Honorary
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Over the years, Monod had given private lessons to talented musicians, including those influenced by mathematics and the computer sciences: many occupy various professional positions in the US and abroad in the areas of conducting, composition, and theory. Although a compilation of Monod's students
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For both the non-professional and professional listener, understanding will begin with and depend upon the intensity of intuitive perception and the desire for a significant aesthetic experience that transcends the measurable assets of a given discipline. "Together with the apprehension of concepts
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for soprano and chamber orchestra, the first of a series of works that realizes Monod's advancement of a polyphonic "langue". Other than his editorial work, Monod has written sparingly on his own works and music of other composers. The few available writings by Monod are liner notes from a 2010 New
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There are three phases of development in Monod's oeuvre: first, his initial education in Paris during the 1930s and 1940s, bearing distinctively French influences and characteristics as to his role in the origins of serialism in France (e.g., extensive training at the Paris
Conservatoire, including
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of "non-experimental" serialism, promoting the music of
American composers primarily from the Northeast academic elite, Columbia-Princeton "axis" (and to a lesser degree from Harvard) at the Guild of Composers concerts. The music performed for 25 years at the Guild of Composers concerts exemplified
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More recently, Monod deposited an additional voluminous collection of musical scores, letters, etc. to
Stanford, as reported in an October 13, 2017, online blog by the head Librarian of their Music Division, Jerry L. McBride, the former archivist at the Schoenberg Institute at USC. McBride writes:
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There is unfortunately very little a composer can do to assist the non-professional listener toward an understanding of his work, for a transliteration of his creative statement will be in the best of circumstances a tautology. Further, it may obscure the interaction between the author's and the
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led to his teaching the remainder of the course. Monod's studies at
Columbia University during the 1950s would eventually lead by the early 1970s to an Associate Professorship position at Columbia's music department, wherein Monod with the former Schoenberg pupil and specialist in medieval music
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Monod's music has been performed sparingly and has yet to be fully recognized. As in the music of Webern, there are no extraneous musical elements nor is there any degree of fortuitousness in Monod's rigorously composed music, which gives the discerning listener a means to distinguish musical
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was performed and promoted among the "new" avant-garde, Monod instead focused not on the emerging
European avant-garde movement with the music of Webern as their model, but on the significance of Webern's music following the death of Schoenberg (1951) with growing interest among the northeast
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In 2013, Monod deposited a collection of his letters, music manuscripts and analyses, theoretical writings, etc. dating from 1952 until 1982 to the Green
Library at Stanford University in the Department of Special Collections and University Archives, Stanford University Libraries, Stanford,
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At a time when the musics of Schoenberg, Berg, and Webern were least performed in America, Monod was among their earliest champions. He spent much of the 1950s as a pianist, performing works of the Second Viennese School for piano and voice, similar to the careers of pianists
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A decisive turning point for Monod occurred in 1944 at the age of 17, when he took private lessons in composition and theory for five years, subsequently remaining a lifelong supporter and president of an association promoting the music of the French composer and conductor
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in Paris on 20 January 1954; while Monod gave its American premiere at Town Hall in December 1955, with Varèse controlling the Ampex tape recorder. In 1956, Monod received an Award from the American Academy of Arts and Letters for his creative work in music.
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notoriety) in directing the first all-Webern concert in the USA (and the first all-Webern concert in Paris during 1951, according to liner notes from a 1976 CRI LP), which took place in New York City on 8 May 1951, and included the world premiere of Webern's
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Monod also edited numerous works for publication at Mobart Music Publications/Boelke-Bomart, Inc. (now part of Jerona Music Corp.), founded by Walter Boelke and initially edited by a Webern pupil, Kurt List; and Schott Music Publishing. These scores include
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was completed with distinction at Columbia in 1975 and assisted by the Princeton- and Columbia educated pianist-composer and a Babbitt-Monod disciple, Thomas S. James, consisting of a detailed exposition on the compositional premise of his seminal work,
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at the age of six, below the official minimum age of nine. Monod attended the Paris Conservatoire intermittently but remained registered for nearly 20 years, obtaining his Doctorat in 1952. Monod's teachers at the Conservatoire were
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haven't yet been written, details on his many students can be found throughout the Internet. He taught primarily in New York City at Columbia and at the Juilliard School with guest lectureships at Princeton, Harvard and Brandeis.
363:; and a chamber ensemble conducted by Monod. Also evident during Monod's residency in the USA was his extraordinary analytical ability: while attending a Columbia graduate 20th-century-music seminar taught by the Varèse disciple
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Monod's editions of Schoenberg's music have been described as the standard by which other are to be judged. In 1983, Monod edited and published at Mobart, "René Leibowitz 1913–1972. A Register of His Works and Writings".
545:, dedicated to Monod and Ms. Beardslee. From 1995 until 2000, concerts of the Guild of Composers were directed by the Monod protégé, the Princeton- and Columbia-educated American composer and conductor, Daniel Plante.
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listener's aesthetic proclivities by dissociating the work from that perceptual level, where the listener experiences the discipline's long standing association with the cultural context. Thus, I will agree with
829:, (1972) is a song cycle in one movement for woman's voice and chamber ensemble. It is made up of seven sections: The first and the last are hummed vocalises, and the middle five are settings of French texts by
260:
Soon after Leibowitz's earliest travels to the United States (first in 1947 to visit Schoenberg in Los Angeles), Monod followed, accompanying Leibowitz to New York City in 1950. Whereas, the noted pianist
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are entirely absent and circumvented in Monod's music; which as a result, provides listeners with lyrical attributes. Monod has set many of his works to texts by French poets, such as
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Monod's debut (1949) as a pianist took place in Paris at a concert organized by Leibowitz for Schoenberg's 75th birthday. His performance in the European premiere of Schoenberg's
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Members of the Board with many former pupils of Monod's serving on the Board of Directors. Notable works include music performed at the Guild of Composers concerts and music of
1017:"In 2016 and 2017, many manuscript scores of Monod's own compositions were added to the collection dating from 1967 to the present, as he continues to compose new works."
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for Violin and Cello: music which represents a tour de force in rhythmic and serial complexity. It is dedicated to the violinist Rose Mary Harbison, wife of the composer
856:'that a work of art restricted to what the artist has put in it is only part of itself', and that 'it only attains full stature with what people and time make of it'.
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1979:
289:; the Viennese pianist, Karl Steiner; and the American pianist, L. Stein. Under the direction of Leibowitz, Monod performed and recorded the piano part of Berg's
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of wide-ranging influences in French government, theology, the sciences and medicine with two Nobel laureates, banking and the arts. His great-great-grandfather
497:. At the Guild of Composers concerts, which often took place at Columbia University's Miller Theater, performances included the music of Elliott Carter,
1974:
321:
for nine instruments, Op. 24; the Variations for Piano, Op. 27, performed by Monod; the Four Songs, Op. 12, performed by the American virtuosic soprano
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acknowledging Monod as the "Guardian of the Schoenberg Flame", wherein Monod is quoted to have stated the following concerning his conducting demands:
1984:
1994:
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More recent performances took place in New York City during February 1987 and in March 1989 of his provocative, "Tränen des Vaterlandes—Anno 1636" (
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Many of Schoenberg's and Webern's disciples had relocated to Great Britain during the 1930s as a result of the rise of National Socialism (e.g.,
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Beginning in the early 1950s and concurrently at the International Summer Course for New Music in Darmstadt, Germany wherein the music of
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In 1975 he founded, and for 20 years served as president of the Guild of Composers, a New York-based group that produced concerts of "uptown"
2004:
1999:
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Throughout much of the 1970s and 1980s, Monod also continued to perform the music of Schoenberg in New York City, leading the music critic
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1824:. The volume carries the note "Several of the essays ... were originally written in German (translated by Dika Newlin)" in both editions.
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Monod was descended from one of the oldest families of the French (but of Swiss origin) Protestant bourgeoisie with a history since the
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His closest associates in America include the composers Earl Kim, Seymour Shifrin, Arthur Berger, Mario Davidovsky, Claudio Spies, and
239:, Op. 47, missed being the world premiere by only a few hours (the world premiere took place in Los Angeles on 13 September 1949, with
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California. Included are letters with the Schoenberg family, René Leibowitz, Elliot Carter, Milton Babbitt, Michel Philippot, et al.
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Monod also taught conducting to many who have specialized in this profession, including Peter Schubert, Michael Alexander Willens,
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879:), a four-minute choral work accompanied by "sackbuts", based upon "a gruesome poetic depiction of carnage and devastation by
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1989:
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Citation by Jeni Dahmus on the Juilliard Concert of Berg's chamber music with Jacques-Louis Monod and Bethany Beardslee
1222:, Philip Batstone, Robert Ceely, Mark Hagerty, et al. Monod has also edited music for APNM, including Godfrey Winham's
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The work is part of a group of three compositions written between 1968 and 1976 including a duo for violin and cello (
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was a noted pastor and theologian. His father Pierre Monod was a noted surgeon. His cousins include the naturalist
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an ideological view that contemporary American music remains very much a part of the Western polyphonic tradition.
196:). Leibowitz, who was an outsider among the French musical establishment, and a major catalyst in the promotion of
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Monod also promoted other musics in addition to the music of the Second Viennese School on 24 January 1954, the
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522:
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297:, Op. 41; and more importantly, Monod also performed on historic recordings of chamber music by Webern for the
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in Paris after WW II, became Monod's principal teacher and mentor within a circle of devoted pupils, including
192:, which lasted until December 1944, the young Monod surreptitiously brought food to Leibowitz, a member of the
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920:, Op. 48; and two works that are arguably among Schoenberg's greatest works from his late period, namely the
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1948:
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68:; and was active primarily in New York City and London during the second half of the twentieth century.
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176:; he also studied with his godfather, Paul-Silva HĂ©rard, the organist at Paris's St. Ambroise Church.
1969:
1964:
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380:, were instrumental in establishing the department's undergraduate and graduate core curricula.
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premiere in Carnegie Recital Hall (now Weill Recital Hall) with Beardslee, soprano; the pianist
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with Monod on piano; and the Quartet for tenor saxophone, clarinet, violin, and piano, Op. 22.
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Review by Robert G. Kopelson in The Harvard Crimson: Jacques-Louis Monod and Chamber Ensemble
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His promotion of Schoenberg include a notable performance in the early 1980s of Schoenberg's
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837:(chosen for their complementary treatment of the imagery germinating from the word visage).
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1812:, with translations by Leo Black. New York: St. Martins Press; London: Faber & Faber.
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affiliation. His musical prowess was detected early when he enrolled in 1933 at the Paris
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Monod's music is published by the Jerona Music Corporation and Schott Music Publishing.
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American academia. Monod directed American premieres of many works of Webern, assisting
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as early as 1945 or 1946 at Princeton – and yet the work was not composed until 1951.
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883:... stark but appropriate for the horrors described"; and his two a capella works,
151:), a northwestern suburb of Paris, to an affluent family of privilege and of French
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1820:. Expanded from the 1950 Philosophical Library (New York) publication edited by
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1648:"Jacques-Louis Monod, Modernist Composer With a Lyrical Touch, Dies at 93"
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332:'s chamber music at Juilliard, featuring the American premiere of Berg's
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317:, Op. 21, conducted by Leibowitz with the Paris Chamber Orchestra; the
33:
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1635:
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A partial list of Monod's compositions include works from the series,
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disciple and émigré from Warsaw, Poland (rumor has it that during the
844:) and a set of three vocalises for double chorus (SATB) a cappella (
1747:
1627:
432:(with an introduction by Pierre Boulez) premiered Edgard Varèse's
20:
1866:"'Music Review; Composers' Guild Honors Its Founder in a Concert"
1722:(30 March 1989). "Composers Guild Program for Chorus and Organ".
1308:; and later, to a translator of German descent, Margrit Auhagen.
809:
305:, who also produced historic jazz recordings of Charlie Parker,
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Haimo, Ethan (1984). "Editing Schoenberg's Twelve-tone Music".
406:. On 16 March 1952, Monod gave the world premieres of Webern's
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80:
32:(25 February 1927 – 21 September 2020) was a French composer,
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On 18 December 1950, Monod performed in a special concert of
1834:
817:
World Records reissue (NWCRL358) of a 1972 recording of his
653:
Cantus Contra Cantum IV (Tränen des Vaterlandes—Anno 1636)
1588:
I Sang the Unsingable: My Life in Twentieth-Century Music
172:; including master classes under the visiting conductor,
1412:, the Nobel Prize-winning biologist; the pharmacologist
384:
Conductor of Webern and influence on New York serialism
48:
music, particularly in the advancement of the music of
1806:
Style and Idea: Selected Writings of Arnold Schoenberg
1476:
1464:
1920:
1861:
Boelke-Bomart, Inc./Jerona Music Corporation Website
265:
claims to have heard Monod perform Milton Babbitt's
1697:Anton von Webern: A Chronicle of His Life and Work
1318:Monod resided in Toulouse in the south of France.
1695:Moldenhauer, Hans; Moldenhauer, Rosaleen (1975).
313:), including the earliest recordings of Webern's
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1777:The New Grove Dictionary of Music and Musicians
1416:, who won the Nobel Prize in Medicine; and the
868:
823:
568:
336:with Beardslee. The duo also performed Berg's
637:(1968/1980) for Soprano and Chamber Orchestra
301:label in the early 1950s (a label founded by
8:
1304:Monod was previously married to the soprano
1111:, David Leibowitz, Richard Fletcher, et al.
649:(1976) for Chorus (a Piano reduction exists)
1911:Recording of Webern Op. 27 Piano Variations
1360:. Unsourced material may be challenged and
1272:. Unsourced material may be challenged and
1153:. Unsourced material may be challenged and
1059:. Unsourced material may be challenged and
980:. Unsourced material may be challenged and
724:. Unsourced material may be challenged and
237:Phantasy for Violin and Piano Accompaniment
200:music and in the subsequent development of
157:Conservatoire National Supérieur de Musique
115:. Unsourced material may be challenged and
1835:Association for the Promotion of New Music
1590:. University of Rochester Press. pp.
1115:Association for the Promotion of New Music
1612:(December 1965). "Weill's School Opera".
1536:
1380:Learn how and when to remove this message
1292:Learn how and when to remove this message
1173:Learn how and when to remove this message
1079:Learn how and when to remove this message
1000:Learn how and when to remove this message
744:Learn how and when to remove this message
135:Learn how and when to remove this message
1548:
1927:
1432:
1512:
412:Three Songs on Poems of Hildegard Jone
16:French composer, pianist and conductor
1980:French emigrants to the United States
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1439:
891:Editor of Schoenberg, Webern and Ives
671:for Mixed Choir and Chamber Orchestra
560:to write an article published in the
7:
1560:
1500:
1358:adding citations to reliable sources
1270:adding citations to reliable sources
1151:adding citations to reliable sources
1057:adding citations to reliable sources
978:adding citations to reliable sources
722:adding citations to reliable sources
113:adding citations to reliable sources
1780:(2nd ed.). London: Macmillan.
1766:(2001). "Monod, Jacques-Louis". In
1706:"Music: Guild of Composers Concert"
1524:
1315:; and in France, Michel Philippot.
593:Monod died on 21 September 2020 in
1682:"Guardian of the Schoenberg Flame"
1477:Moldenhauer & Moldenhauer 1975
1465:Moldenhauer & Moldenhauer 1975
1234:Personal life and close associates
467:'s school opera composed in 1930,
14:
1021:Teacher at Columbia and Juilliard
1985:21st-century classical composers
1942:
1930:
1330:
1242:
1123:
1029:
950:
694:
541:, who composed an earlier work,
267:The Widow's Lament in Springtime
147:Monod was born in Asnières (now
85:
1995:French male classical composers
1404:; the industrialist-politician
812:in New York City performed his
548:Monod was a major proponent in
256:Pianist and the Dial recordings
1975:People from Asnières-sur-Seine
1:
1882:"Concert: New-Music Ensemble"
1704:Page, Tim (5 February 1987).
932:Quintet for Strings and Piano
581:, Op. 21, with commentary by
367:, Monod's cogent analysis of
1736:(1976). "Homage to Milton".
1699:. New York: Alfred A. Knopf.
1489:Beardslee & Proctor 2017
655:(1978) for Mixed Chorus and
455:, R. Gerhard, T. W. Adorno,
2005:21st-century male musicians
2000:20th-century male musicians
1742:. 14/15 (2/1): 37–40 (37).
1665:Arnold Schoenberg Institute
643:(1973) for Violin and Cello
597:, France at the age of 93.
355:in 1912–13, received their
190:German occupation of France
25:Jacques-Louis Monod in 2009
2021:
404:Five Canons on Latin Texts
228:, and for a brief period,
1739:Perspectives of New Music
1586:; Proctor, Minna (2017).
1224:Composition for Orchestra
489:New York City 1970s–1990s
473:, based on a libretto by
418:on Lexington Avenue with
295:Ode to Napoleon Bonaparte
1845:"Music: Composers Guild"
942:Monod papers at Stanford
902:Central Park in the Dark
846:Cantus Contra Cantum III
647:Cantus Contra Cantum III
459:, L. Spinner, E. Cross,
408:Three Traditional Rhymes
77:Paris 1940s: early years
930:, Op. 46; and Webern's
877:Cantus Contra Cantum IV
842:Cantus Contra Cantum II
771:Cantus Contra Cantum II
669:Cantus Contra Cantum VI
641:Cantus Contra Cantum II
1451:Unedited extract from
927:A Survivor from Warsaw
873:
867:
827:Cantus Contra Cantum I
819:Cantus Contra Cantum I
814:Cantus Contra Cantum I
764:and advanced polyphony
663:Cantus Contra Cantum V
635:Cantus Contra Cantum I
573:
481:-play, as reported by
395:Richard Franko Goldman
26:
864:10, no. 53, July 1944
621:Organ Piece (undated)
477:and after a Japanese
349:Three Japanese Lyrics
24:
1479:, pp. 713, 717.
1410:Jacques Lucien Monod
1354:improve this section
1266:improve this section
1147:improve this section
1053:improve this section
974:improve this section
762:Cantus Contra Cantum
718:improve this section
615:Cantus Contra Cantum
606:List of compositions
109:improve this section
1990:Modernist composers
1890:, February 26, 1984
1878:, November 12, 1999
1491:, pp. 110–111.
1226:and Stephen Peles'
912:; and Schoenberg's
344:, Op. 2 (1908–10).
251:New York City 1950s
174:Herbert von Karajan
30:Jacques-Louis Monod
1887:The New York Times
1875:The New York Times
1854:The New York Times
1802:Schoenberg, Arnold
1764:Steinberg, Michael
1725:The New York Times
1711:The New York Times
1687:The New York Times
1653:The New York Times
1646:(3 October 2020).
1584:Beardslee, Bethany
686:Style and ideology
495:contemporary music
410:, Op. 17, and the
378:Patricia Carpenter
149:Asnières-sur-Seine
27:
1680:(10 March 1985).
1622:(1474): 934–937.
1615:The Musical Times
1390:
1389:
1382:
1322:Notable relatives
1306:Bethany Beardslee
1302:
1301:
1294:
1188:Eduard Steuermann
1183:
1182:
1175:
1089:
1088:
1081:
1010:
1009:
1002:
916:, Op. 39 and the
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753:
746:
430:Hermann Scherchen
338:Seven Early Songs
323:Bethany Beardslee
293:and Schoenberg's
194:French Resistance
145:
144:
137:
58:Arnold Schoenberg
2012:
1947:
1946:
1945:
1935:
1934:
1933:
1926:
1912:
1901:
1857:, March 25, 1985
1791:
1759:
1729:
1715:
1700:
1691:
1673:
1657:
1639:
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1385:
1378:
1374:
1371:
1365:
1334:
1326:
1297:
1290:
1286:
1283:
1277:
1246:
1238:
1230:for solo piano.
1178:
1171:
1167:
1164:
1158:
1127:
1119:
1107:, Peter Frewen,
1084:
1077:
1073:
1070:
1064:
1033:
1025:
1005:
998:
994:
991:
985:
954:
946:
881:Andreas Gryphius
865:
749:
742:
738:
735:
729:
698:
690:
679:Canonic Vocalise
507:Mario Davidovsky
291:Chamber Concerto
245:Adolph Koldofsky
214:Michel Philippot
206:Jean Prodromidès
170:Olivier Messiaen
140:
133:
129:
126:
120:
89:
81:
2020:
2019:
2015:
2014:
2013:
2011:
2010:
2009:
1955:
1954:
1953:
1949:Classical music
1943:
1941:
1931:
1929:
1921:
1910:
1900:Video interview
1899:
1831:
1798:
1796:Further reading
1788:
1762:
1732:
1718:
1703:
1694:
1676:
1663:Journal of the
1660:
1642:
1608:
1602:
1582:
1579:
1571:
1567:
1559:
1555:
1547:
1543:
1535:
1531:
1523:
1519:
1511:
1507:
1499:
1495:
1487:
1483:
1475:
1471:
1463:
1459:
1450:
1446:
1438:
1434:
1430:
1422:Jean-Luc Godard
1418:French New Wave
1386:
1375:
1369:
1366:
1351:
1335:
1324:
1298:
1287:
1281:
1278:
1263:
1247:
1236:
1179:
1168:
1162:
1159:
1144:
1128:
1117:
1105:Joel Eric Suben
1085:
1074:
1068:
1065:
1050:
1034:
1023:
1006:
995:
989:
986:
971:
955:
944:
893:
866:
860:
783:total serialism
766:
750:
739:
733:
730:
715:
699:
688:
627:(1952) (or the
608:
603:
591:
578:Pierrot lunaire
511:Seymour Shifrin
491:
445:
420:Igor Stravinsky
386:
361:Russell Sherman
353:Igor Stravinsky
258:
253:
212:, Pierre Chan,
210:Antoine Duhamel
141:
130:
124:
121:
106:
90:
79:
74:
17:
12:
11:
5:
2018:
2016:
2008:
2007:
2002:
1997:
1992:
1987:
1982:
1977:
1972:
1967:
1957:
1956:
1952:
1951:
1939:
1919:
1918:
1907:
1896:
1891:
1879:
1870:Paul Griffiths
1863:
1858:
1842:
1837:
1830:
1829:External links
1827:
1826:
1825:
1797:
1794:
1793:
1792:
1786:
1768:Sadie, Stanley
1760:
1748:10.2307/832624
1734:Rosen, Charles
1730:
1728:. p. C23.
1720:Rockwell, John
1716:
1714:. p. C14.
1701:
1692:
1690:. p. H21.
1674:
1658:
1656:. p. B11.
1640:
1628:10.2307/954340
1606:
1600:
1578:
1577:
1565:
1553:
1541:
1537:Steinberg 2001
1529:
1517:
1505:
1493:
1481:
1469:
1467:, p. 713.
1457:
1444:
1431:
1429:
1426:
1420:film director
1402:Théodore Monod
1394:Napoleonic era
1388:
1387:
1338:
1336:
1329:
1323:
1320:
1313:Malcolm Peyton
1300:
1299:
1250:
1248:
1241:
1235:
1232:
1220:George Edwards
1204:Godfrey Winham
1196:Edward T. Cone
1192:Roger Sessions
1181:
1180:
1131:
1129:
1122:
1116:
1113:
1101:Markand Thakar
1097:Gilbert Levine
1087:
1086:
1037:
1035:
1028:
1022:
1019:
1008:
1007:
958:
956:
949:
943:
940:
924:, Op. 45, and
892:
889:
858:
765:
759:
752:
751:
702:
700:
693:
687:
684:
683:
682:
677:(1978) (incl.
672:
666:
660:
650:
644:
638:
632:
622:
607:
604:
602:
599:
590:
587:
563:New York Times
539:Milton Babbitt
523:George Edwards
519:Donald Martino
490:
487:
475:Bertolt Brecht
444:
441:
385:
382:
365:Chou Wen-chung
351:, composed by
340:(1905–08) and
257:
254:
252:
249:
226:Claude Helffer
222:André Casanova
182:René Leibowitz
143:
142:
93:
91:
84:
78:
75:
73:
70:
15:
13:
10:
9:
6:
4:
3:
2:
2017:
2006:
2003:
2001:
1998:
1996:
1993:
1991:
1988:
1986:
1983:
1981:
1978:
1976:
1973:
1971:
1968:
1966:
1963:
1962:
1960:
1950:
1940:
1938:
1928:
1924:
1917:
1913:
1908:
1906:
1902:
1897:
1895:
1892:
1889:
1888:
1884:by Tim Page,
1883:
1880:
1877:
1876:
1871:
1867:
1864:
1862:
1859:
1856:
1855:
1850:
1849:John Rockwell
1846:
1843:
1841:
1838:
1836:
1833:
1832:
1828:
1823:
1819:
1818:0-520-05294-3
1815:
1811:
1810:Leonard Stein
1807:
1803:
1800:
1799:
1795:
1789:
1787:9780195170672
1783:
1779:
1778:
1773:
1772:Tyrrell, John
1769:
1765:
1761:
1757:
1753:
1749:
1745:
1741:
1740:
1735:
1731:
1727:
1726:
1721:
1717:
1713:
1712:
1707:
1702:
1698:
1693:
1689:
1688:
1683:
1679:
1678:Kozinn, Allan
1675:
1672:(2): 141–157.
1671:
1667:
1666:
1659:
1655:
1654:
1649:
1645:
1644:Fox, Margalit
1641:
1637:
1633:
1629:
1625:
1621:
1617:
1616:
1611:
1607:
1603:
1601:9781580469005
1597:
1593:
1589:
1585:
1581:
1580:
1574:
1569:
1566:
1562:
1557:
1554:
1550:
1549:Rockwell 1989
1545:
1542:
1538:
1533:
1530:
1526:
1521:
1518:
1514:
1509:
1506:
1502:
1497:
1494:
1490:
1485:
1482:
1478:
1473:
1470:
1466:
1461:
1458:
1454:
1448:
1445:
1442:, p. 37.
1441:
1436:
1433:
1427:
1425:
1423:
1419:
1415:
1411:
1407:
1403:
1399:
1398:Adolphe Monod
1395:
1384:
1381:
1373:
1370:November 2021
1363:
1359:
1355:
1349:
1348:
1344:
1339:This section
1337:
1333:
1328:
1327:
1321:
1319:
1316:
1314:
1309:
1307:
1296:
1293:
1285:
1282:November 2021
1275:
1271:
1267:
1261:
1260:
1256:
1251:This section
1249:
1245:
1240:
1239:
1233:
1231:
1229:
1225:
1221:
1217:
1216:Rolv Yttrehus
1213:
1212:Ursula Mamlok
1209:
1205:
1201:
1200:Arthur Berger
1197:
1193:
1189:
1177:
1174:
1166:
1163:November 2021
1156:
1152:
1148:
1142:
1141:
1137:
1132:This section
1130:
1126:
1121:
1120:
1114:
1112:
1110:
1109:Rachael Worby
1106:
1102:
1098:
1093:
1083:
1080:
1072:
1069:November 2021
1062:
1058:
1054:
1048:
1047:
1043:
1038:This section
1036:
1032:
1027:
1026:
1020:
1018:
1014:
1004:
1001:
993:
990:November 2021
983:
979:
975:
969:
968:
964:
959:This section
957:
953:
948:
947:
941:
939:
935:
933:
929:
928:
923:
919:
915:
911:
907:
903:
899:
890:
888:
886:
882:
878:
872:
863:
857:
855:
849:
847:
843:
838:
836:
832:
828:
822:
820:
815:
811:
808:In 1979, the
806:
802:
800:
796:
792:
788:
784:
778:
776:
775:John Harbison
772:
763:
760:
758:
748:
745:
737:
734:November 2021
727:
723:
719:
713:
712:
708:
703:This section
701:
697:
692:
691:
685:
680:
676:
673:
670:
667:
665:for Orchestra
664:
661:
658:
654:
651:
648:
645:
642:
639:
636:
633:
630:
626:
623:
620:
619:
618:
616:
611:
605:
600:
598:
596:
588:
586:
584:
580:
579:
572:
567:
565:
564:
559:
554:
551:
550:New York City
546:
544:
540:
536:
532:
528:
524:
520:
516:
512:
508:
504:
503:Claudio Spies
500:
499:Arthur Berger
496:
488:
486:
484:
480:
476:
472:
471:
466:
462:
458:
454:
450:
442:
440:
437:
436:
431:
427:
425:
421:
417:
416:92nd Street Y
413:
409:
405:
400:
396:
391:
383:
381:
379:
374:
370:
366:
362:
358:
357:Carnegie Hall
354:
350:
345:
343:
339:
335:
331:
326:
324:
320:
316:
312:
308:
304:
300:
296:
292:
288:
284:
280:
276:
275:E. Steuermann
270:
268:
264:
263:Charles Rosen
255:
250:
248:
246:
243:on piano and
242:
241:Leonard Stein
238:
233:
231:
230:Pierre Boulez
227:
223:
219:
215:
211:
207:
203:
199:
195:
191:
187:
183:
177:
175:
171:
167:
162:
161:child prodigy
158:
154:
150:
139:
136:
128:
125:February 2021
118:
114:
110:
104:
103:
99:
94:This section
92:
88:
83:
82:
76:
71:
69:
67:
63:
59:
55:
54:Edgard Varèse
51:
47:
43:
39:
35:
31:
23:
19:
1885:
1873:
1852:
1808:. Edited by
1805:
1775:
1737:
1723:
1709:
1696:
1685:
1669:
1662:
1651:
1619:
1613:
1587:
1568:
1556:
1544:
1532:
1520:
1508:
1496:
1484:
1472:
1460:
1452:
1447:
1435:
1414:Daniel Bovet
1406:JĂ©rĂ´me Monod
1391:
1376:
1367:
1352:Please help
1340:
1317:
1310:
1303:
1288:
1279:
1264:Please help
1252:
1227:
1223:
1184:
1169:
1160:
1145:Please help
1133:
1094:
1090:
1075:
1066:
1051:Please help
1039:
1015:
1011:
996:
987:
972:Please help
960:
936:
931:
925:
921:
917:
913:
909:
905:
901:
898:Charles Ives
894:
884:
876:
874:
869:
861:
850:
845:
841:
839:
826:
824:
818:
813:
807:
803:
779:
770:
767:
761:
755:
740:
731:
716:Please help
704:
678:
674:
668:
662:
659:or Trombones
652:
646:
640:
634:
628:
625:Chamber Aria
624:
614:
612:
609:
592:
583:George Perle
576:
574:
569:
561:
558:Allan Kozinn
555:
547:
542:
535:Fred Lerdahl
527:Robert Helps
492:
468:
451:, E. Stein.
446:
443:London 1960s
433:
428:
424:Robert Craft
411:
407:
403:
399:Goldman Band
390:Anton Webern
387:
372:
348:
346:
341:
337:
333:
327:
303:Ross Russell
299:Dial Records
294:
290:
271:
266:
259:
247:on violin).
236:
234:
202:serial music
198:Schoenberg's
178:
146:
131:
122:
107:Please help
95:
66:uptown music
62:Anton Webern
50:Charles Ives
46:contemporary
42:20th century
29:
28:
18:
1970:2020 deaths
1965:1927 births
1822:Dika Newlin
1610:Drew, David
1592:pp. 110–111
1575:, p. .
1513:Kozinn 1985
922:String Trio
918:Three Songs
831:Paul Éluard
629:Passacaglia
531:David Lewin
470:Der Jasager
311:Miles Davis
287:Paul Jacobs
1959:Categories
1573:Haimo 1984
1440:Rosen 1976
1428:References
1228:Intermezzo
1208:Will Ogdon
906:Hallowe'en
483:David Drew
465:Kurt Weill
461:P. Stadlen
449:E. Wellesz
373:Ionisation
342:Four Songs
330:Alban Berg
283:C. Helffer
279:P. Stadlen
218:Serge Nigg
153:Protestant
1937:Biography
1561:Page 1987
1501:Drew 1965
1453:Die Musik
1341:does not
1253:does not
1134:does not
1040:does not
961:does not
914:Kol nidre
854:Naum Gabo
835:Jean Senn
799:René Char
705:does not
675:2 Elegies
426:present.
334:Two Songs
307:Max Roach
96:does not
72:Biography
38:conductor
1804:. 1975.
1774:(eds.).
1525:Fox 2020
910:The Pond
885:Elergies
859:—
657:Sackbuts
595:Toulouse
515:Earl Kim
457:K. Rankl
453:W. Goehr
376:theory,
319:Concerto
315:Symphony
166:Yves Nat
1923:Portals
1916:YouTube
1905:YouTube
1455:, 1930.
1362:removed
1347:sources
1274:removed
1259:sources
1155:removed
1140:sources
1061:removed
1046:sources
982:removed
967:sources
862:Horizon
726:removed
711:sources
681:, 1978)
435:DĂ©serts
117:removed
102:sources
34:pianist
1816:
1784:
1756:832624
1754:
1636:954340
1634:
1598:
795:Renard
791:Valéry
787:Éluard
537:; and
369:Varèse
186:Webern
1752:JSTOR
1632:JSTOR
601:Music
589:Death
159:as a
1814:ISBN
1782:ISBN
1596:ISBN
1345:any
1343:cite
1257:any
1255:cite
1138:any
1136:cite
1044:any
1042:cite
965:any
963:cite
908:and
833:and
810:ISCM
797:and
709:any
707:cite
422:and
397:(of
309:and
184:, a
168:and
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988:(
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747:)
741:(
736:)
732:(
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631:)
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132:(
127:)
123:(
119:.
105:.
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