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Author: Karen Painter
Publisher: Harvard University Press
ISBN: 9780674033597
Category : Music
Languages : en
Pages : 374
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Book Description
Can music be political? Germans have long claimed the symphony as a pillar of their modern national culture. By 1900, the critical discourse on music, particularly symphonies, rose to such prominence as to command front-page news. With the embrace of the Great War, the humiliation of defeat, and the ensuing economic turmoil, music evolved from the most abstract to the most political of the arts. Even Goebbels saw the symphony as a tool of propaganda. More than composers or musicians, critics were responsible for this politicization of music, aspiring to change how music was heard and understood. Once hailed as a source of individual heroism, the symphony came to serve a communal vision. Karen Painter examines the politicization of musical listening in Germany and Austria, showing how nationalism, anti-Semitism, liberalism, and socialism profoundly affected the experience of serious music. Her analysis draws on a vast collection of writings on the symphony, particularly those of Mahler and Bruckner, to offer compelling evidence that music can and did serve ideological ends. She traces changes in critical discourse that reflected but also contributed to the historical conditions of the fin de siecle, World War I, and the Nazi regime.
Author: Karen Painter
Publisher: Harvard University Press
ISBN: 9780674033597
Category : Music
Languages : en
Pages : 374
Get Book Here
Book Description
Can music be political? Germans have long claimed the symphony as a pillar of their modern national culture. By 1900, the critical discourse on music, particularly symphonies, rose to such prominence as to command front-page news. With the embrace of the Great War, the humiliation of defeat, and the ensuing economic turmoil, music evolved from the most abstract to the most political of the arts. Even Goebbels saw the symphony as a tool of propaganda. More than composers or musicians, critics were responsible for this politicization of music, aspiring to change how music was heard and understood. Once hailed as a source of individual heroism, the symphony came to serve a communal vision. Karen Painter examines the politicization of musical listening in Germany and Austria, showing how nationalism, anti-Semitism, liberalism, and socialism profoundly affected the experience of serious music. Her analysis draws on a vast collection of writings on the symphony, particularly those of Mahler and Bruckner, to offer compelling evidence that music can and did serve ideological ends. She traces changes in critical discourse that reflected but also contributed to the historical conditions of the fin de siecle, World War I, and the Nazi regime.
Author: Jeongwon Joe
Publisher: Indiana University Press
ISBN: 0253221633
Category : Biography & Autobiography
Languages : en
Pages : 505
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Book Description
The contributors discuss films ranging from the 1913 biopic of Wagner to Ridley Scott's Gladiator, with essays on silent cinema, film scoring, Wagner in Hollywood, German cinema, and Wagner beyond the soundtrack.
Author: Simon P. Keefe
Publisher: Cambridge University Press
ISBN: 9780521834834
Category : Music
Languages : en
Pages : 344
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Book Description
A rare volume dedicated entirely to scholarship on the genre of the concerto.
Author: Stephen Town
Publisher: Routledge
ISBN: 1317181867
Category : Music
Languages : en
Pages : 387
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Book Description
The rehabilitation of British music began with Hubert Parry and Charles Villiers Stanford. Ralph Vaughan Williams assisted in its emancipation from continental models, while Gerald Finzi, Edmund Rubbra and George Dyson flourished in its independence. Stephen Town's survey of Choral Music of the English Musical Renaissance is rooted in close examination of selected works from these composers. Town collates the substantial secondary literature on these composers, and brings to bear his own study of the autograph manuscripts. The latter form an unparalleled record of compositional process and shed new light on the compositions as they have come down to us in their published and recorded form. This close study of the sources allows Town to identify for the first time instances of similarity and imitation, continuities and connections between the works.
Author: Jonathan O. Wipplinger
Publisher: University of Michigan Press
ISBN: 0472122665
Category : Music
Languages : en
Pages : 325
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Book Description
The Jazz Republic examines jazz music and the jazz artists who shaped Germany’s exposure to this African American art form from 1919 through 1933. Jonathan O. Wipplinger explores the history of jazz in Germany as well as the roles that music, race (especially Blackness), and America played in German culture and follows the debate over jazz through the fourteen years of Germany’s first democracy. He explores visiting jazz musicians including the African American Sam Wooding and the white American Paul Whiteman and how their performances were received by German critics and artists. The Jazz Republic also engages with the meaning of jazz in debates over changing gender norms and jazz’s status between paradigms of high and low culture. By looking at German translations of Langston Hughes’s poetry, as well as Theodor W. Adorno’s controversial rejection of jazz in light of racial persecution, Wipplinger examines how jazz came to be part of German cultural production more broadly in both the US and Germany, in the early 1930s. Using a wide array of sources from newspapers, modernist and popular journals, as well as items from the music press, this work intervenes in the debate over the German encounter with jazz by arguing that the music was no mere “symbol” of Weimar’s modernism and modernity. Rather than reflecting intra-German and/or European debates, it suggests that jazz and its practitioners, African American, white American, Afro-European, German and otherwise, shaped Weimar culture in a central way.
Author: Ben Winters
Publisher: Routledge
ISBN: 1135022550
Category : Art
Languages : en
Pages : 284
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Book Description
This book examines the relationship between narrative film and reality, as seen through the lens of on-screen classical concert performance. By investigating these scenes, wherein the performance of music is foregrounded in the narrative, Winters uncovers how concert performance reflexively articulates music's importance to the ontology of film. The book asserts that narrative film of a variety of aesthetic approaches and traditions is no mere copy of everyday reality, but constitutes its own filmic reality, and that the music heard in a film's underscore plays an important role in distinguishing film reality from the everyday. As a result, concert scenes are examined as sites for provocative interactions between these two realities, in which real-world musicians appear in fictional narratives, and an audience’s suspension of disbelief is problematised. In blurring the musical experiences of onscreen observers and participants, these concert scenes also allegorize music’s role in creating a shared subjectivity between film audience and character, and prompt Winters to propose a radically new vision of music’s role in narrative cinema wherein musical underscore becomes part of a shared audio-visual space that may be just as accessible to the characters as the music they encounter in scenes of concert performance.
Author: Mark Carroll
Publisher: Routledge
ISBN: 1351557718
Category : History
Languages : en
Pages : 615
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Book Description
This volume gathers together a cross-section of essays and book chapters dealing with the ways in which musicians and their music have been pressed into the service of political, nationalist and racial ideologies. Arranged chronologically according to their subject matter, the selections cover Western and non-Western musics, as well as art and popular musics, from the eighteenth century to the present day. The introduction features detailed commentaries on sources beyond those included in the volume, and as such provides an invaluable and comprehensive reading list for researchers and educators alike. The volume brings together for the first time seminal articles written by leading scholars, and presents them in such a way as to contribute significantly to our understanding of the use and abuse of music for ideological ends.
Author: Luca Lévi Sala
Publisher: Routledge
ISBN: 1351800884
Category : Music
Languages : en
Pages : 258
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Book Description
Recent scholarship has vanquished the traditional perception of nineteenth-century Britain as a musical wasteland. In addition to attempting more balanced assessments of the achievements of British composers of this period, scholars have begun to explore the web of reciprocal relationships between the societal, economic and cultural dynamics arising from the industrial revolution, the Napoleonic wars, and the ever-changing contours of British music publishing, music consumption, concert life, instrument design, performance practice, pedagogy and composition. Muzio Clementi (1752–1832) provides an ideal case-study for continued exploration of this web of relationships. Based in London for much of his life, whilst still maintaining contact with continental developments, Clementi achieved notable success in a diversity of activities that centred mainly on the piano. The present book explores Clementi’s multivalent contribution to piano performance, pedagogy, composition and manufacture in relation to British musical life and its international dimensions. An overriding purpose is to interrogate when, how and to what extent a distinctive British musical culture emerged in the early nineteenth century. Much recent work on Clementi has centred on the Italian National Edition of his complete works (MiBACT); several chapters report on this project, whilst continuing to pursue the book’s broader themes.
Author: Jeremy Dibble
Publisher: Boydell & Brewer
ISBN: 1783275774
Category : Music
Languages : en
Pages : 565
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Book Description
This book examines Delius's individual approaches to genre, form, harmony, orchestration and literary texts which gave the composer's musical style such a unique voice.
Author: Nathan Waddell
Publisher: Oxford University Press
ISBN: 0192548654
Category : Literary Criticism
Languages : en
Pages : 402
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Book Description
How and why did the life and music of Ludwig van Beethoven (1770-1827) matter to experimental writers in the early twentieth century? Previous answers to this question have tended to focus on structural analogies between musical works and literary texts, charting the many different ways in which poetry and prose resemble Beethoven's compositions. This book takes a different approach. It focuses on how early twentieth-century writers--chief among them E. M. Forster, Aldous Huxley, Wyndham Lewis, Dorothy Richardson, Rebecca West, and Virginia Woolf--profited from the representational conventions associated in the nineteenth century and beyond with Beethovenian culture. The emphasis of Moonlighting falls for the most part on how modernist writers made use of Beethovenian legend. It is concerned neither with formal similarities between Beethoven's music and modernist writing nor with the music of Beethoven per se, but with certain ways of understanding Beethoven's music which had long before 1900 taken shape as habit, myth, cliché, and fantasy, and with the influence they had on experimental writing up to 1930. Moonlighting suggests that the modernists drew knowingly and creatively on the conventional. It proposes that many of the most experimental works of modernist literature were shaped by a knowing reliance on Beethovenian consensus; in short, that the literary modernists knew Beethovenian legend when they saw it, and that they were eager to use it.
