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Book Categories |
| Pt. I | The Composer in Context | |
| 1 | A Composer's Point of View | 3 |
| 2 | Towards the Condition of Music | 7 |
| 3 | Art and Anarchy | 16 |
| Pt. II | Composers Past and Present | |
| 4 | Schoenberg | 25 |
| 5 | Stravinsky and Les Noces | 47 |
| 6 | Purcell | 57 |
| 7 | Britten | 66 |
| 8 | Holst | 73 |
| 9 | Hindemith and Ludus tonalis | 76 |
| 10 | Shostakovich | 79 |
| 11 | Charles Ives | 83 |
| Pt. III | Traditions and Texts | |
| 12 | Archetypes of Concert Music | 89 |
| 13 | T. S. Eliot and A Child of Our Time | 109 |
| 14 | Sketch for a Modern Oratorio | 117 |
| 15 | The Nameless Hero: Reflections on A Child of Our Time | 178 |
| 16 | The Midsummer Marriage | 185 |
| 17 | The Resonance of Troy: Essays and Commentaries on King Priam | 209 |
| 18 | Dreams of Power, Dreams of Love | 220 |
| 19 | St Augustine and his Visions | 228 |
| 20 | Aspects of Belief | 237 |
| 21 | The Mask of Time | 245 |
| Pt. IV | The Art of Performance | |
| 22 | The Score | 259 |
| 23 | The Stage | 269 |
| Pt. V | Afterwords | |
| 24 | A Composer and his Public | 277 |
| 25 | The Composer and Pacificism | 282 |
| 26 | The Artist's Mandate | 287 |
| 27 | Too Many Choices | 294 |
| 28 | 'Dreaming on Things to Come...' | 307 |
| Appendix | 310 | |
| Index | 313 |
| Price | Condition | Delivery | Seller | Action |
| $99.99 | Digital |
| WonderClub |
Danielle Fayette
reviewed Tippett on Music on September 15, 2015
Tippett on Music
This book is great, and I'm a music theorist! (Although admittedly I do go a bit against the grain...)
The one-star review, IMO, misses the point entirely. For one, Levinson's point is precisely about disanalogies between the temporal art of music and media such as architecture that are "there all at once." For another, the division between the composer's cognitively-driven designs and "the result of these processes" is not transparent in music. Finally, it's not even obvious that architecture can be appreciated without knowledge in the robust sense the reviewer assumes; maybe it can, but it's not self-evident. Even less so for music, hence Levinson's wonderful book.
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