{"product_id":"129302","title":"The music of the future that came too soon ","description":"\u003ccenter\u003e\u003cdiv style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/tmgdisk01.cafe24.com\/images\/vs\/4172\/sv\/WQtgpSoAOnfnGEsrouYvpj.png?v=1764844893\" style=\"max-width:100%;max-height:10px\"\u003e\u003c\/div\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\u003ccenter\u003e\n\n\u003cdiv style=\"width:95%\"\u003e\n\n\u003cdiv style=\"text-align:center;font-size:30px;font-weight:bolder;line-height:1.6em\"\u003e The music of the future that came too soon \u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"border-bottom:1px;border-bottom-style:dotted;border-color:;padding-bottom:20px\"\u003e\u003ccenter\u003e\u003ctable align=\"center\" width=\"100%\"\u003e\u003ctbody style=\"border:0px\"\u003e\n\n\u003ctr\u003e\u003ctd align=\"center\" style=\"line-height:1.2em;text-align:center;font-size:18px;color:black;font-weight:bold;padding-bottom:20px;\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\n\n\u003ctr\u003e\u003ctd style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/image.yes24.com\/goods\/163022137\/XL\" style=\"max-width:100%;height:auto\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\n\n\n\u003c\/tbody\u003e\u003c\/table\u003e\u003c\/center\u003e\u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"width:95%;{split_style6}padding-top:20px;padding-bottom:20px\"\u003e\n\n\u003cdiv style=\"text-align:left;font-size:16px;font-weight:bold;padding-bottom:20px\"\u003e Description \u003c\/div\u003e\n\n\u003cdiv style=\"text-align:left;word-break:break-all;font-size:14px;line-height:1.6em;\"\u003e\n\n\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eBook Introduction\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cdiv\u003e \u003cb\u003e“A passionate record of musicians ahead of their time,\u003cbr\u003e “A human story we encounter beyond that.”\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e Changes in music have always accompanied changes in humanity.\u003cbr\u003e This book follows the sounds born at each moment of change, conveying the courage and beauty of those who heard the future first.\u003cbr\u003e The unfamiliarity of contemporary music is unraveled in a familiar narrative, and the journey of artists who did not stop even in times of turmoil, from Stravinsky and Schoenberg to Pärt and Jin Eun-sook, unfolds.\u003cbr\u003e As unfamiliar contemporary music becomes closer, we hear the 'music of the future' still in progress amidst the echoes of the 20th century.\u003cbr\u003e\u003cbr\u003e “Redrawing the topography of contemporary music.\u003cbr\u003e “Testimony from artists who heard the future first”\u003cbr\u003e \u003cbr\u003eAs unfamiliar contemporary music becomes more accessible, we follow the journey of sounds that changed the times.\u003cbr\u003e In the records of creation that never ceased even in times of chaos, the courage and passion of artists who heard the future first shine vividly.\u003cbr\u003e Their music is a journey of innovation, resistance, and human breath, unfolding as a map in a book.\u003cbr\u003e Kim Seong-hyeon, a journalist and commentator who has been documenting the music scene for a long time, tells us about the 'music of the future' that is still ongoing along with the resonance of the 20th century.\u003cbr\u003e\n\n\u003c\/div\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cul\u003e\u003cli\u003e You can preview some of the book's contents.\u003cbr\u003e \u003cspan\u003ePreview\u003c\/span\u003e\n\n\u003c\/li\u003e\u003c\/ul\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eindex\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e introduction\u003cbr\u003e Topography of Contemporary Music\u003cbr\u003e Two meanings of contemporary music\u003cbr\u003e\u003cbr\u003e Seven Ways to Enjoy The Rite of Spring - Igor Stravinsky's The Rite of Spring \u003cbr\u003eWas it his wife or his music that he lost? - Arnold Schoenberg's Pierrot Lunaire\u003cbr\u003e Submission to Stalin or Covert Resistance? - Dmitri Shostakovich's Symphony No. 5\u003cbr\u003e The meeting of two geniuses - Sergei Prokofiev's \"Alexander Nevsky\"\u003cbr\u003e The Subversive Opera Hated by Both Hitler and Stalin - Alban Berg's \"Wozzeck\"\u003cbr\u003e At the Twilight of Life, at the End of Romanticism - Richard Strauss's \"Four Last Songs\"\u003cbr\u003e Artistic Double Front Against Impressionism - Claude Debussy's \"The Sea\"\u003cbr\u003e A riddle all the more fascinating because its answer is unknown - Edward Elgar's \"Enigma Variations\"\u003cbr\u003e The Declaration of Independence for 20th-Century American Music: Charles Ives' \"Concord Sonata\"\u003cbr\u003e A Great Exception in Czech Music - Leos Janáček's \"Glagolitic Mass\"\u003cbr\u003e Is there a \"total soccer\" version of classical music? - Béla Bartók's \"Concerto for Orchestra\" \u003cbr\u003eMozart of Finca Vienna - Erich Wolfgang Korngold's Violin Concerto\u003cbr\u003e Weill in Berlin and Weill on Broadway - Kurt Weill's The Threepenny Opera\u003cbr\u003e Joining Hands Through Cold War Music - Benjamin Britten's \"War Requiem\"\u003cbr\u003e The dazzling fireworks display from the film \"The Great Gatsby\" - George Gershwin's \"Rhapsody in Blue\"\u003cbr\u003e A melody that resonated even at the U.S. presidential inauguration - Aaron Copland's \"Appalachian Spring\"\u003cbr\u003e Olivier Messiaen, a saint of modern music who sang of the joys of love, \"Turangalila Symphony\"\u003cbr\u003e A postwar revolutionary who surpassed his master - Pierre Boulez's \"The Hammer Without a Master\"\u003cbr\u003e Contemporary music, painted with an Eastern brush instead of a Western pen - Yun Isang's \"Yeak\"\u003cbr\u003e In a Cloud of Thick Sound - György Ligeti, \"Atmospher\"\u003cbr\u003e “In my dreams, I am always Alice” - Jin Eun-sook, Alice in Wonderland \u003cbr\u003eSoviet Postmodernist - Alfred Schnittke Concerto No. 1\u003cbr\u003e A Song of Sorrow and Comfort Born from Silence - Arvo Pärt's \"Tabula Rasa\"\u003cbr\u003e \"The composer's path is not a flowerbed covered with roses.\" - Sofia Gubaidulina, Violin Concerto No. 1\u003cbr\u003e The sonic imagination that captivated horror films and rock stars - Krzysztof Penderecki's \"Elegy for the Victims of Hiroshima\"\u003cbr\u003e A Modern Retelling of Romeo and Juliet - Leonard Bernstein's \"West Side Story\"\u003cbr\u003e All music begins and ends with silence - John Cage, 4'33\"\u003cbr\u003e The Birth of CNN Opera - John Adams' \"Nixon in China\"\u003cbr\u003e From New York cab driver to contemporary music star - Philip Glass's \"Einstein on the Beach\"\u003cbr\u003e Percussion, the protagonist of minimalism - Steve Reich, \"Drumming\"\u003cbr\u003e\u003cbr\u003e Contemporary Music Timeline\u003cbr\u003e References\u003cbr\u003e Find a person's name\u003cbr\u003e Plate information\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eDetailed image\u003c\/b\u003e \u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cdiv\u003e\u003cimg src=\"https:\/\/image.yes24.com\/momo\/TopCate6006\/MidCate008\/600576235.jpg\" border=\"0\" alt=\"Detailed Image 1\"\u003e\u003c\/div\u003e\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eInto the book\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e  \u003cdiv\u003eCreating a blueprint for navigating the vast sea of ​​contemporary music\u003cbr\u003e Writing a review of a work that no one had ever seen or heard of before was a strange and unfamiliar experience.\u003cbr\u003e Since then, it has become my personal task and wish to create a blueprint that will allow me to safely navigate the vast sea of ​​contemporary music of the 20th and 21st centuries.\u003cbr\u003e\u003cbr\u003e --- p.10\u003cbr\u003e\u003cbr\u003e Artistic events of our time\u003cbr\u003e Even the works of Stravinsky and Schoenberg, which are considered the starting point of modern music, are only 100 years old.\u003cbr\u003e In fact, it means that these are artistic events of the same time as us.\u003cbr\u003e Just as studying history doesn't necessarily have to begin with prehistoric times and Gojoseon, classical music can also be viewed by turning the timeline upside down.\u003cbr\u003e Even in the history of music, attempts like the 'Egg of Columbus' are possible.\u003cbr\u003e I sincerely hope that this book will become one of those works.\u003cbr\u003e\u003cbr\u003e --- p.11\u003cbr\u003e \u003cbr\u003eAll these stories are the stories of us living now.\u003cbr\u003e By the late 20th century, diversity in gender, region, and race had become a hot topic in contemporary music.\u003cbr\u003e There has been a growing movement away from studies of European white male-centered composers and towards a reevaluation of female and people of color composers and performers.\u003cbr\u003e Regionally, interest in 'regional balanced development' has grown not only in Europe and the United States, but also in South America, Asia, and Africa.\u003cbr\u003e The history of modern music is not much different from modern history in general.\u003cbr\u003e That is why all these stories are also the stories of us who are living now.\u003cbr\u003e\u003cbr\u003e --- p.20\u003cbr\u003e\u003cbr\u003e From a radical work of fiction to a modern classic\u003cbr\u003e Sometimes myths create paradoxes that hinder a full understanding of the work.\u003cbr\u003e The evaluation of any work is not completed on the day of its premiere, but rather, like life, it gradually goes through the process of birth, aging, illness, and death. \u003cbr\u003e\"The Rite of Spring\" is also a case in point, having endured the test of time for a century, transforming from a radical work of controversy into a modern classic.\u003cbr\u003e --- p.30\u003cbr\u003e\u003cbr\u003e At the twilight of life, at the end of romanticism\u003cbr\u003e \"Four Last Songs\" became a final farewell to the fading tradition of late German Romanticism.\u003cbr\u003e At the same time, it remains a contradictory masterpiece that fully preserves its retro sentiment even amidst the turbulent waves of modern music that goes beyond atonality and twelve-tone techniques and rushes toward serialism.\u003cbr\u003e --- p.124\u003cbr\u003e\u003cbr\u003e Shaking up the old, outdated aesthetics and bringing about a change in new tastes\u003cbr\u003e In the 21st century, we no longer consider the Impressionist art of the Musée d'Orsay to be groundbreaking or radical.\u003cbr\u003e Likewise, no one complains that the sea is not seen or heard in Debussy's works.\u003cbr\u003e A century has passed since the work's premiere, and our aesthetic standards themselves have changed. \u003cbr\u003ePerhaps Debussy's greatest achievement is that he shook up the old, outdated aesthetics and brought about a change in new tastes.\u003cbr\u003e\u003cbr\u003e --- p.137\u003cbr\u003e\u003cbr\u003e Elgar.\u003cbr\u003e A true British composer after Purcell\u003cbr\u003e There is a very ironic aspect to Elgar's life.\u003cbr\u003e Although he may seem like Britain's national composer now, he was actually more of an outsider during his lifetime.\u003cbr\u003e In England, where the Church of England was central, he was a minority Catholic and was from the suburbs of Worcester, not London.\u003cbr\u003e He was also born the son of a music books and musical instrument dealer, and was virtually self-taught in music.\u003cbr\u003e It seems that there was nothing that fit the mainstream conditions in terms of religion, region, or class.\u003cbr\u003e\u003cbr\u003e --- p.143\u003cbr\u003e\u003cbr\u003e American music's \"Declaration of Independence\"\u003cbr\u003e As the introduction shows, Ives is easily understood as a musical outsider, as radical as Schoenberg. \u003cbr\u003eThis sonata, which Ives devoted four years to composing, is also considered a difficult piece full of technical difficulties due to the continuous flow of notes and the rapid tempo.\u003cbr\u003e\u003cbr\u003e However, with the release of numerous albums featuring this song in the latter half of the 20th century, these harsh criticisms have been ably refuted.\u003cbr\u003e (...)\u003cbr\u003e After his death in 1954, Ives was called \"a pioneer of American modern music.\"\u003cbr\u003e In that sense, Ives's sonata was like a 'declaration of independence' for 20th-century American music.\u003cbr\u003e\u003cbr\u003e --- p.156\u003cbr\u003e\u003cbr\u003e The Great Exception, Janáček\u003cbr\u003e The Glagolitic Mass is one of Janáček's later masterpieces, premiered in 1927.\u003cbr\u003e Although the composer was already in his seventies, Janáček displayed his experience as he continued to produce operas, orchestral works, and chamber music in his later years.\u003cbr\u003e (...) \u003cbr\u003eWe live in constant fear of falling behind the times, but 'great exceptions' like Janáček subtly point us in the right direction.\u003cbr\u003e In life and art, what is more important than momentary evaluation is your own originality.\u003cbr\u003e --- p.163\u003cbr\u003e\u003cbr\u003e Zemlinsky, teacher of Korngold and Schoenberg\u003cbr\u003e It seems that both Korngold, Vienna's greatest musical prodigy, and Schönberg, a late bloomer, were Zemlinsky's students.\u003cbr\u003e Korngold later made a significant contribution to the development of Hollywood film music.\u003cbr\u003e Schoenberg left a significant mark on the history of 20th-century modern music by nurturing students such as Alban Berg and Webern.\u003cbr\u003e As a result, Zemlinsky indirectly influenced both film music and modern music through his students.\u003cbr\u003e\u003cbr\u003e It seems that both Korngold, Vienna's greatest musical prodigy, and Schönberg, a late bloomer, were Zemlinsky's students. \u003cbr\u003eKorngold later made a significant contribution to the development of Hollywood film music.\u003cbr\u003e Schoenberg left a significant mark on the history of 20th-century modern music by nurturing students such as Alban Berg and Webern.\u003cbr\u003e As a result, Zemlinsky indirectly influenced both film music and modern music through his students.\u003cbr\u003e --- p.193\u003cbr\u003e\u003cbr\u003e Appalachian Spring, a work that captures the turbulent times and their meaning.\u003cbr\u003e \"Appalachian Spring\" contained a triple meaning: the utopia of the Old Testament's Book of Genesis, the pioneering spirit of the early days of the United States, and the optimism of wartime America.\u003cbr\u003e\u003cbr\u003e “Appalachian Spring” is, in fact, a product of the fusion of artists with disparate and contradictory backgrounds.\u003cbr\u003e Yuriko Kikuchi, a Japanese-American dancer who participated in the work's premiere, was detained in an Arizona immigration center for two years immediately after the attack on Pearl Harbor. \u003cbr\u003eIsamu Noguchi (1904-1988), who was in charge of stage design, was also investigated by the FBI on suspicion of espionage.\u003cbr\u003e Even in an era when the mere fact of having Japanese ancestry made them objects of suspicion and surveillance, Graham accepted them into his dance troupe without hesitation.\u003cbr\u003e If you think about it, Copland was also a composer with a non-mainstream identity: he was a Lithuanian Jew, a political leftist, and a homosexual.\u003cbr\u003e However, in 1945, the year after its premiere, Copland won the Pulitzer Prize for this work, solidifying his position as the 'Dean' of American modern music.\u003cbr\u003e\u003cbr\u003e --- p.236\u003cbr\u003e\u003cbr\u003e Ligeti, a musician who expanded boundaries beyond the narrow-mindedness of his time\u003cbr\u003e The self-consciousness of the uprooted tormented the composer throughout his life, but conversely, it was also the driving force that enabled him to be free from the laws and trends of modern music. \u003cbr\u003eEven after his exile in the West, Ligeti tried to keep a certain distance from the narrow-minded and dogmatic atmosphere of the contemporary music world.\u003cbr\u003e He first became known in 1957 through the Darmstadt Music Festival, the cradle of modern music.\u003cbr\u003e However, when looking at composers fighting and strife for hegemony within the narrow world of contemporary music, some have compared it to the power struggles of the Nazi or Stalinist regimes.\u003cbr\u003e Later he said, “I am not a guru (spiritual leader).\u003cbr\u003e I have no desire to preach or improve the world.\u003cbr\u003e “All these utopias are so strange to me,” he confessed.\u003cbr\u003e For this reason, Ligeti not only never created his own musical school throughout his life, but also constantly sought to break away from his already established style.\u003cbr\u003e In 1993, Ligeti confessed:\u003cbr\u003e “I have no definite vision of the future, no overarching plan. \u003cbr\u003eI just feel like a blind person in a maze, groping my way through various paths.\u003cbr\u003e “The moment you succeed in taking a step forward, it immediately becomes the past, and there are many forks in the road for the next step.” Perhaps, discontinuity and continuity were keywords that ran through his life and music.\u003cbr\u003e\u003cbr\u003e --- p.266-267\u003cbr\u003e\u003cbr\u003e A self-image filled with maturity, development, dreams, and the unconscious: Jin Eun-sook's \"Alice in Wonderland\"\u003cbr\u003e As Alice sings, “Who in the world am I?”, the opera continually poses questions about identity.\u003cbr\u003e Like the lyrics of Alice's Aria, it is a question of \"Am I still the same person when I wake up this morning?\"\u003cbr\u003e This question is, of course, the original author Carol's, but it is also the question Jin Eun-sook poses to us. \u003cbr\u003eAt a 2011 conversation with the composer at London's Barbican Centre, the audience peppered Jin Eun-sook with questions about her composing habits and even her process for preparing for the opera's premiere.\u003cbr\u003e To the final question, “Do you sometimes identify with Alice, the main character of the original Carol?” Jin Eun-sook answered as follows.\u003cbr\u003e “In my dreams, I am always Alice.” As a result, “Alice in Wonderland” became a work that fully embodies the composer Jin Eun-sook’s maturity and development, as well as her dreams and unconsciousness.\u003cbr\u003e\u003cbr\u003e --- p.276-277\u003cbr\u003e\u003cbr\u003e A Journey of Resistance and Endurance\u003cbr\u003e Whenever his health recovered and he rose again like a rock, he would always pick up his pen.\u003cbr\u003e In the late 1980s, concerts highlighting his works were held in London, Berlin, Stockholm, and other cities, and he also served as resident composer at the Salzburg and Old Lover Festivals.\u003cbr\u003e The powers that be in the Soviet music world, who had oppressed and harassed him throughout his life, lost their power after the dissolution of the Soviet Union in 1991. \u003cbr\u003eMeanwhile, in 1994, a music festival highlighting Schnittke's work was held around the world.\u003cbr\u003e One of those cities was Moscow.\u003cbr\u003e It was the moment when the city where Schnittke had studied, taught, and composed music all his life finally 'officially recognized' his music.\u003cbr\u003e\u003cbr\u003e --- p.294-295\u003cbr\u003e\u003cbr\u003e Minimalism and the spiritual world born through silence\u003cbr\u003e When he returned in 1976 after a long silence, Part was a completely different composer.\u003cbr\u003e Since the mid-1970s, Part has called his musical style 'tintinnabuli'.\u003cbr\u003e The Latin word 'tintinnabulum', meaning 'little bell', refers to the bells or bell sounds used in events such as church services or papal processions.\u003cbr\u003e In fact, Part enjoyed using chime-like sounds in his works, but more importantly, there was a change in the musical language itself. \u003cbr\u003e“Tintinabulli is an area I encountered during a time when I was searching for answers in my life, music and work,” the composer said. “When I was going through dark times, I felt that anything outside of that one answer was meaningless.”\u003cbr\u003e The conclusion reached after a long period of searching in the dark was that it was Tin Tinabuli.\u003cbr\u003e As a result, the initial difficult dissonances disappeared, and the main melody and the tonic triad stood out in a quiet and meditative atmosphere.\u003cbr\u003e\u003cbr\u003e --- p.303-304\u003cbr\u003e\u003cbr\u003e Escape from the cage\u003cbr\u003e Although Cage was a lifelong self-proclaimed \"anarchist,\" he was largely indifferent to real-world politics.\u003cbr\u003e (...) But it is also true that pop and rock musicians, including John Lennon and Yoko Ono, guitarist Frank Zappa, and rock band Sonic Youth, also embraced topics such as noise, silence, and chance through Cage. \u003cbr\u003eIn that sense, Cage's words, \"Escape from the bird cage that is imprisoning you,\" still sound meaningful.\u003cbr\u003e Where will contemporary music fly to after breaking free from its cage?\u003cbr\u003e\n\n\u003c\/div\u003e\n\u003cdiv\u003e --- p.359\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003ePublisher's Review\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e \u003cb\u003e\"Do I have to listen to contemporary music?\"\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e This is the question most frequently asked by authors covering classical music.\u003cbr\u003e He says, 'I went to contemporary music concerts, listened to records, and as if that wasn't enough, I even published a book.'\u003cbr\u003e This is connected to his 'main job'.\u003cbr\u003e As a reporter for the culture department of the Chosun Ilbo and a concert commentator, the author has introduced music through the blog 'Classic Neverland' and YouTube 'Classic Talk', and due to the nature of his job, he is one of the people who has been exposed to the most classical performances in Korea.\u003cbr\u003e Even for him, encountering contemporary music was by no means easy. \u003cbr\u003eUnlike art or literature, classical music is still confined to the framework of 'Western classical music', and contemporary music in particular remains the most difficult area among them.\u003cbr\u003e\u003cbr\u003e Until the 19th century, music shared a common grammar called tonality, but with the emergence of methodologies such as Schoenberg's atonality, twelve-tone technique, and later serialism, that grammar itself collapsed.\u003cbr\u003e Familiar structures, like those of Classical and Romantic music, are lost, forms are dismantled by erasing repetition, fragmenting time and sound, and even making silence part of the work.\u003cbr\u003e\u003cbr\u003e However, even contemporary music, which may seem difficult and complex, can be surprisingly interesting and fascinating when viewed within the context of the relationship between the era and the musicians.\u003cbr\u003e So, introducing contemporary music to the author is ultimately like 'handing over a map so that he can safely cross the vast ocean.'\u003cbr\u003e\u003cbr\u003e \u003cb\u003eA map of contemporary music in digest format\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003eThe author says, 'Just as there is no need to start from prehistoric times and Gojoseon when studying history, classical music can also be viewed by turning the chronology upside down.\u003cbr\u003e He says that even in music history, attempts like 'Columbus's Egg' are possible (page 11).\u003cbr\u003e This means that you don't have to learn everything sequentially.\u003cbr\u003e Exploring music history in a digest format, first highlighting interesting and vivid points, is the very method that transforms the unfamiliarity of contemporary music into a familiar story.\u003cbr\u003e In this process, the 'map of contemporary music' is revealed in three dimensions by weaving together scattered points into a single map.\u003cbr\u003e\u003cbr\u003e \u003cb\u003eSeven coordinates on four topographic maps\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e This book unfolds contemporary music around four topographical maps.\u003cbr\u003e These are ‘Stravinsky and Schoenberg’, ‘Hitler and Stalin’, ‘The Third Zone of Modern Music’, and ‘Old Continent Europe and New Continent America’. \u003cbr\u003eHere, the terrain was expanded to a total of seven coordinates by adding 'Between the 19th and 20th Centuries', 'Avant-garde in Russia and Eastern Europe', and 'Voices of America'.\u003cbr\u003e In the process of expanding this, boundaries overlap and flow, but it is precisely this that reveals the dynamism and hybridity of contemporary music.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e The book's preface includes a map of contemporary music in text and images, providing readers with a three-dimensional guide.\u003cbr\u003e Characters, events, and historical backgrounds are connected like dots, and the relationships and episodes of the musicians unfold in small story units.\u003cbr\u003e Thanks to this, the book is a light read, but it can also be a reading experience that weaves together a map of the topography of modern music by following the coordinates.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e \u003cb\u003eStravinsky and Schoenberg\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e The birth of modern music began with two shocks. \u003cbr\u003eStravinsky's \"The Rite of Spring,\" premiered in Paris in 1913, caused such a stir that the police were called out, and the concert held in Vienna by Schoenberg and his students in the same year was called the \"Scandal Concert\" and caused another explosion in the history of music.\u003cbr\u003e The parallels and gaps between 'Stravinsky, who reigned as a brilliant star' and 'Schoenberg, the lonely prophet' opened up new horizons for 20th-century modern music, and over the course of a century, their music transformed from a radical problematic work to a modern classic.\u003cbr\u003e\u003cbr\u003e \u003cb\u003eHitler and Stalin\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e In the 1930s and 1940s, Hitler and Stalin subordinated art to ideology.\u003cbr\u003e Shostakovich and Prokofiev struggled painfully within it, and countless artists went into exile and exile.\u003cbr\u003e Schoenberg also went into exile in France and the United States after the Nazis came to power, and Kurt Weill also went into exile in the United States via France due to Nazi persecution. \u003cbr\u003eIn this way, the violence of political power changed the course of art history, and World War II became a decisive turning point for modern music.\u003cbr\u003e\u003cbr\u003e \u003cb\u003eThe Third Zone of Contemporary Music\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e The Wagner craze that swept across Europe in the late 19th century was a huge issue in the history of music.\u003cbr\u003e This succession and severance soon emerged as a key issue dividing the 19th and 20th centuries.\u003cbr\u003e While the two great masters, Stravinsky and Schoenberg, faced each other, Debussy and later French composers dug into the gap between them and opened up new possibilities.\u003cbr\u003e The path they opened up over what at first glance seemed impossible was captured in the ‘third zone of contemporary music.’\u003cbr\u003e At the same time, this flow also coincides with the coordinates of 'between the 19th and 20th centuries' and intersects with the trajectories of composers such as Elgar, Ives, and Janáček.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e \u003cb\u003eOld World Europe and New World America\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003eIn post-war Europe, the Darmstadt generation expanded on Schoenberg's methodology and experimented with new music.\u003cbr\u003e In contrast, in the United States, the popular currents of Copland and Bernstein and the experimental currents of Cage and Carter coexisted, creating a completely different landscape.\u003cbr\u003e This conflict ultimately expands to the coordinates of the 'Voice of America'.\u003cbr\u003e Furthermore, minimalism in the 1960s shook popular music through Glass and Reich, and later, it expanded to encompass diversity in gender, race, and region, and even included the 'Russian and Eastern European avant-garde', filling the map of contemporary music in three dimensions.\u003cbr\u003e\u003cbr\u003e \u003cb\u003eA story of contemporary music, told through thirty texts and twenty-seven essays.\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003eWhat's interesting about this book is that it includes twenty-seven essays, including \"Gulda the Terrorist Pianist,\" \"The Bakery and the Arrows,\" \"The Beatles and Stockhausen,\" \"Between Prime Minister Hwang Hui of the Soviet Union and Salieri,\" \"The Goldberg Variations of Our Time,\" and \"Movie Theaters and Wedding Part-Timers.\"\u003cbr\u003e These essays, brimming with wit and curiosity even just by looking at their titles, serve as a small bridge that leads the unfamiliar world of contemporary music into a friendly and warm story.\u003cbr\u003e\u003cbr\u003e In the main text, the characters, events, and flow of time flow naturally, and the relationships and episodes between the musicians flow in an interesting way.\u003cbr\u003e Through these stories, the author transformed contemporary music from a 'distant and difficult world' to 'music of this era, right next to us.' \u003cbr\u003eSo, as you turn the pages of the book, unfamiliar names will soon turn into familiar faces, and you will realize that sounds that once seemed complicated are connected to our daily lives.\u003cbr\u003e\u003cbr\u003e \u003cb\u003eAn intimate and vivid sense beyond the unfamiliar\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e The history of modern music is a history of pioneering.\u003cbr\u003e Stravinsky's \"The Rite of Spring\" and Schoenberg's controversial works have become \"modern classics\" over the past century, and Jin Eun-sook expanded her own musical world with the opera \"Alice in Wonderland\", overcoming her identity crisis in Europe.\u003cbr\u003e Schnittke used the 60 or so film scores he wrote to avoid censorship as the basis for his symphonies and concertos, while Pärt, after a period of silence, opened up a unique sound world called 'Tintinabuli'.\u003cbr\u003e Their journey is a record of creation and resistance that did not stop even under the pressure of the times.\u003cbr\u003e \u003cbr\u003eIn this way, musicians bear witness to their times through a history of resistance and pioneering, while simultaneously unfolding the diverse spectrum of contemporary music through their diverse cultures and musical imaginations.\u003cbr\u003e \"The Music of the Future That Came Too Soon\" is a guidebook that allows readers to explore the entire spectrum in a friendly manner, and a vivid record of the testimonies of artists who stood against the times.\u003cbr\u003e It is composed of short chapters that can be read lightly, making it easy to approach, but after reading it all, you will realize just how deep and long the author's years of effort and dedication were. \u003cbr\u003e\n\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"width:95%;padding-top:20px;padding-bottom:20px\"\u003e\n\n\u003cdiv style=\"text-align:left;font-size:16px;font-weight:bold;padding-bottom:20px\"\u003e GOODS SPECIFICS \u003c\/div\u003e\n\n\u003cdiv style=\"text-align:left;font-size:14px;line-height:1.6em;\"\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eDate of issue:\u003c\/strong\u003e October 29, 2025\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003ePage count, weight, size:\u003c\/strong\u003e 420 pages | 135*205*30mm\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eISBN13:\u003c\/strong\u003e 9791189346812\u003c\/div\u003e\n\n\u003cdiv 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