The twentieth century musical -nbsp has continued to renew the language, writing techniques and technologies, but also to observe its principles or to prescribe the rules. As Baudelaire had announced, with modernity arises the demand of the artist reasoning his art and discovering the laws by virtue of which he creates.
Fed up with literary or plastic experiences, philosophical concepts and advances in science (mathematics, physics, acoustics ...), the composers of the last century have left us a number of articles, interviews, letters, manifestos, books, documents and research sometimes unpublished, but transmitted by an oral tradition or their own pedagogy. They deal with music, its foundations, as well as their works already written or in the making, to unveil the mysteries or accompany their project.
Many of these theories, whether individual or collective, explicit or more secretive, have been commented on by musicology, but to date there was no synthetic panorama for the music lover, the student or the musician. Theories of musical composition in the twentieth century -nbsp intends to fill this gap and show the strength of these theories to contemporary Schoenberg through minimalism. Written by the best specialists, constantly reviving the equilibrium between ideas, historical facts and analysis of scores, it presents more than sixty reference chapters introducing a body of writings by composers or more transversal notions, which have Architectured western music throughout the past century.