Books in the Musical Cultures of the Twentieth Century series

This book presents ten studies focusing on music inspired and promoted by regimes such as Nazi Germany, Fascist Italy, France under Vichy, the USSR and its satellites, Franco's Spain, Salazar's Portugal, Maoist China, and Latin-American dictatorships. By discussing the musical works themselves, whether they were conceived as ways to provide "music for the people", to personally honour the dictator, or to participate in State commemorations of glorious historical events, the book examines the relationship between the composers and the State.

It is undeniable that technology has made a tangible impact on the nature of musical listening. This volume offers a wide-ranging exploration of the relations between sound, technology and listening practices, considered from the complementary perspectives of art music and popular music, music theatre and multimedia, composition and performance.

This book presents ten studies focusing on music inspired and promoted by regimes such as Nazi Germany, Fascist Italy and Franco's Spain. By discussing the musical works themselves the book examines the relationship between the composers and the State.

The new music theatre of the third quarter of the twentieth century presents a research field of great richness. In these years, music theatre became one of the main preoccupations for (especially) young composers digesting the consequences of the revolutionary experiments in musical language that followed the end of the Second World War. Despite the importance of `music theatre¿ in this period, many significant works are now almost forgotten, and very few regularly revived, often because of the inadequacies of surviving notations or the unusual demands of staging.

This book is the first study to offer a wide-ranging investigation of ways in which democracy may thus be found in music. A guiding theme of the volume is that this takes place in a plurality of ways, depending upon the perspective taken to music's manifold relationships, and the idea of democracy being entertained.

The new music theatre of the third quarter of the twentieth century presents a research field of great richness. In these years, music theatre became one of the main preoccupations for (especially) young composers digesting the consequences of the revolutionary experiments in musical language that followed the e