Music, Modern Culture, and the Critical Ear

1. Auflage 2019
ISBN: 978-0-367-88170-2
Verlag: Taylor & Francis Ltd

Buch, Englisch, 288 Seiten, Format (B × H): 156 mm x 234 mm, Gewicht: 376 g

In his 1985 book The Idea of Music: Schoenberg and Others, Peter Franklin set out a challenge for musicology: namely, how best to talk and write about the music of modern European culture that fell outside of the modernist mainstream typified by Schoenberg, Berg, and Webern? Thirty years on, this collected volume of essays by Franklin’s students and colleagues returns to that challenge and the vibrant intellectual field that has since developed. Moving freely between insights into opera, Volksoper, film, festival, and choral movement, and from the very earliest years of the twentieth century up to the 1980s, its authors listen with a ‘critical ear’: they site these musical phenomena within a wider web of modern cultural practices - a perspective, in turn, that enables them to exercise a disciplinary self-awareness after Franklin’s manner.

Autoren/Hrsg.

Attfield, Nicholas

Winters, Ben (The Open University, UK)

Winters, Ben

Fachgebiete

• Geisteswissenschaften Musikwissenschaft Musikwissenschaft Allgemein Musiktheorie, Musikästhetik, Kompositionslehre

Inhaltsverzeichnis

Introduction. Nicholas Attfield and Ben Winters Section 1: Personal Tributes 1. Susan McClary, ‘Peter Franklin’s Guilty Pleasures’ 2. Kate Daubney, ‘From Opera House to Cinema: Forging a New Discipline in 1988’ Section 2: Modernism and Modernity 3. Sherry Lee and Thomas Peattie, ‘Extraordinary Listening (Mahler – and Franklin)’ 4. Ben Winters, ‘Korngold’s Violanta: Venice, Carnival, and the Masking of Identities’ 5. Jonathan Hicks, ‘Erik Satie and the Subject(s) of Mobility’ Section 3: Reconsidering Interwar Germany 6. Nicholas Attfield, ‘Ein Menschenherz geopfert – oder viele!’: Hans Pfitzner and the Idea of a Volksoper’ 7. Matthew Werley, ‘The Architecture of Trauma: Richard Strauss, Salzburg, and the Great War’ 8. Alexander Binns, ‘Cozarinsky’s La Guerre d’un seul homme and Musical Categories: (Re)-Framing Pfitzner, Strauss, Schreker, and Schoenberg Cinematically’ Section 4: Musicology and its Values 9. Christopher Chowrimootoo, ‘"Britten Minor": Constructing the Modernist Canon’ 10. Aidan J. Thomson, ‘Elgar’s Part-Song Cycle, Op. 53: Idealism and Education’ 11. David Cooper, ‘"It must be done fresh and new"—Bernard Herrmann’s Score for North by Northwest’ 12. Christopher Morris, ‘Back from the Dead: Kubrick, Music and the Auteur’

Über Autor(innen)

Nicholas Attfield is a lecturer in Music at the University of Birmingham. His research interests centre on the European music, culture, and politics of the late nineteenth and early twentieth centuries and he has published on Bruckner, Orff, Pfitzner, Debussy, and music criticism during the First World War.

Ben Winters is a lecturer in Music at The Open University, UK. He is the author of two monographs on film music, and co-editor of The Routledge Companion to Screen Music and Sound. He is a series editor for the Ashgate Screen Music Series.