Modernism in music still arouses passions and is riven by controversies. Taking root in the early decades of the twentieth century, it achieved ideological dominance for almost three decades following the Second World War, before becoming the object of widespread critique in the last two decades of the century, both from critics and composers of a postmodern persuasion and from prominent scholars associated with the ‘new musicology’. Yet these critiques have failed to dampen its ongoing resilience. The picture of modernism has considerably broadened and diversified, and has remained a pivotal focus of debate well into the twenty-first century. This Research Companion does not seek to limit what musical modernism might be and resists any dilution of the term whereby it might be used almost indiscriminately for practically any and all music composed during a certain period.In addition to addressing issues already well established in modernist studies such as aesthetics, history, institutions, place, diaspora, cosmopolitanism, production and performance, communication technologies and the interface with postmodernism, this volume also explores topics that are less established; among them: modernism and affect, modernism and comedy, modernism versus the ‘contemporary’, and the crucial distinction between modernism in popular culture and a ‘popular modernism’, a modernism of the people. In doing so, this text seeks to define modernism in music by probing its margins as much as by restating its supposed essence.

Bjorn Heile is Professor of Music (post-1900) at the University of Glasgow. He is the author of The Music of Mauricio Kagel (Aldershot: Ashgate, 2006), the editor of The Modernist Legacy: Essays on New Music (Aldershot: Ashgate, 2009), co-editor (with Martin Iddon) of Mauricio Kagel bei den Darmstadter Ferienkursen fur Neue Musik: Eine Dokumentation (Hofheim: Wolke, 2009) and co-editor (with Peter Elsdon and Jenny Doctor) of Watching Jazz: Encountering Jazz Performance on Screen (New York: Oxford University Press, 2016) and many other publications on new music, experimental music theatre and jazz. Among other projects, he is trying to write a book on the global history of musical modernism.Charles Wilson was senior subject editor for twentieth-century composers on the second edition of the New Grove Dictionary of Music and Musicians, and currently lectures at the School of Music, Cardiff University. He served as editor-in-chief (2009–12) of the Cambridge University Press journal Twentieth-Century Music. His own research focuses on the relationship between historiography and practice (both personal and institutional) in the art music of the twentieth and twenty-first centuries.