This is the first book to investigate systematically the diverse aspects and compositional approaches of Greek musical modernism.The volume contributes to ongoing discussions about aesthetic modernism in general and the epistemological issues that pertain to its historiography, especially with respect to challenging the centre–periphery dichotomy that has previously informed its conceptual framework. The book strikes a balance between offering thematically focused contributions and serving as a reference source for scholars interested in looking more thoroughly into unexamined or overlooked aspects of musical modernism. To do so, it encompasses a variety of case studies, presented in a series of 13 chapters that cover a wide array of methodological approaches, from historical and critical to analytical and philosophical. These chapters are organised along the lines of a historical narrative that traces the reception of musical modernism in Greece, ranging from downright rejection during the mid-war period to affirmative institutionalisation in the post-war years.In this context, the book will interest not only musicians, musicologists, and music theorists but also cultural historians and other scholars involved in studying the emergence, development, and dissemination of modernism worldwide.
This is the first book to investigate systematically the diverse aspects and compositional approaches of Greek musical modernism.The volume contributes to ongoing discussions about aesthetic modernism in general and the epistemological issues that pertain to its historiography, especially with respect to challenging the centre–periphery dichotomy that has previously informed its conceptual framework. The book strikes a balance between offering thematically focused contributions and serving as a reference source for scholars interested in looking more thoroughly into unexamined or overlooked aspects of musical modernism. To do so, it encompasses a variety of case studies, presented in a series of 13 chapters that cover a wide array of methodological approaches, from historical and critical to analytical and philosophical. These chapters are organised along the lines of a historical narrative that traces the reception of musical modernism in Greece, ranging from downright rejection during the mid-war period to affirmative institutionalisation in the post-war years.In this context, the book will interest not only musicians, musicologists, and music theorists but also cultural historians and other scholars involved in studying the emergence, development, and dissemination of modernism worldwide.
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