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Library Search: great for scholarly books AND articles, as well as streaming music and video
Oxford Music Online: background information about artistic movements, composers and performers. Check the bibliographies at the end of each article for more info.
Oxford Art Online: background information about artistic movements and visual artists. Check the bibliographies at the end of each article for more info.
E-Books
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The Edinburgh Companion to Literature and Music
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Bringing together seventy-one newly commissioned original chapters by literary specialists and musicologists, this book presents the most recent interdisciplinary research into literature and music. In five parts, the chapters cover the Middle Ages to the present. The volume introduction and methodology chapters define key concepts for investigating the interdependence of these two art forms and a concluding chapter looks to the future of this interdisciplinary field. An editorial introduction to each historical part explains the main features of the relationships between literature and music in the period and outlines recent developments in scholarship. Contributions represent a multiplicity of approaches: theoretical, contextual and close reading. Case studies reach beyond literature and music to engage with related fields including philosophy, history of science, theatre, broadcast media and popular culture.This trailblazing companion charts and extends the work in this expanding interdisciplinary field and is an essential resource for researchers with an interest in literature and other media.
ISBN: 0748693122Publication Date: 2020-04-01 -
The Mental Life of Modernism: why poetry, painting, and music changed at the turn of the twentieth century
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An argument that Modernism is a cognitive phenomenon rather than a cultural one. At the beginning of the twentieth century, poetry, music, and painting all underwent a sea change. Poetry abandoned rhyme and meter; music ceased to be tonally centered; and painting no longer aimed at faithful representation. These artistic developments have been attributed to cultural factors ranging from the Industrial Revolution and the technical innovation of photography to Freudian psychoanalysis. In this book, Samuel Jay Keyser argues that the stylistic innovations of Western modernism reflect not a cultural shift but a cognitive one. Behind modernism is the same cognitive phenomenon that led to the scientific revolution of the seventeenth century: the brain coming up against its natural limitations. Keyser argues that the transformation in poetry, music, and painting (the so-called sister arts) is the result of the abandonment of a natural aesthetic based on a set of rules shared between artist and audience, and that this is virtually the same cognitive shift that occurred when scientists abandoned the mechanical philosophy of the Galilean revolution. The cultural explanations for Modernism may still be relevant, but they are epiphenomenal rather than causal. Artists felt that traditional forms of art had been exhausted, and they began to resort to private formats--Easter eggs with hidden and often inaccessible meaning. Keyser proposes that when artists discarded their natural rule-governed aesthetic, it marked a cognitive shift; general intelligence took over from hardwired proclivity. Artists used a different part of the brain to create, and audiences were forced to play catch up.
ISBN: 9780262356954Publication Date: 2020-03-03 -
Cubism
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Les Demoiselles d'Avignon: five young women that changed modern art forever. Faces seen simultaneously from the front and in profile, angular bodies whose once voluptuous feminine forms disappear behind asymmetric lines - with this work, Picasso revolutionised the entire history of painting. Cubism was thus born in 1907. Transforming natural forms into cylinders and cubes, painters like Juan Gris and Robert Delaunay, led by Braque and Picasso, imposed a new vision upon the world that was in total opposition to the principles of the Impressionists. Largely diffused in Europe, Cubism developed rapidly in successive phases that brought art history to all the richness of the 20th century: from the futurism of Boccioni to the abstraction of Kandinsky, from the suprematism of Malevich to the constructivism of Tatlin.Linking the core text of Guillaume Apollinaire with the studies of Dr. Dorothea Eimert, this work offers a new interpretation of modernity's crucial moment, and permits the reader to rediscover, through their biographies, the principal representatives of the movement.
ISBN: 9781780428000Publication Date: 2012-01-05 -
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The Decadent Image
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This book enquires into the problem of venerating artificiality and the inaccessibility of beauty associated with it whilst engaging in the sensuous, immediate experience as advocated by Walter Pater. It examines for the first time together poems by three protagonists of the 1890s: Oscar Wilde, Arthur Symons and Ernest Dowson. It sees their poems as sites where the self sensually collides with or is immersed in their artifice. This is understood through the shift from Aestheticism to Decadence, which is marked by a greater emphasis on heterodox erotic experience. This study examines Wilde's early poetry and its role in triggering this shift. It shows how the idea of an erotic encounter with artifice reaches its apex in Symons, and how in Dowson it ripens into vexed non-encounters.
ISBN: 9780748690923Publication Date: 2015-05-01 -
Decadent Subjects
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An illuminating exploration of fin de siècle decadence "by a well-known authority in the areas of European literature, culture, and psychoanalysis" (Pre-Raphaelite Studies).The influential writer and scholar Charles Bernheimer described decadence as a "stimulant that bends thought out of shape, deforming traditional conceptual molds." In this posthumously published work, Bernheimer succeeds in making a critical concept out of this perennially fashionable, rarely understood term.This remarkable collection of essays shows the contradictions of the phenomenon, which is both a condition and a state of mind. In seeking to show why people have failed to give a satisfactory account of the term decadence, Bernheimer argues that we often mistakenly take decadence to represent something concrete, that we see as some sort of agent. His salutary response is to return to those authors and artists whose work constitutes the topos of decadence, rereading key late nineteenth-century authors such as Nietzsche, Zola, Hardy, Wilde, Moreau, and Freud to rediscover the very dynamics of the decadent. Through careful analysis of the literature, art, and music of the fin de siècle--including a riveting discussion of the many faces of Salome--Bernheimer leaves us with a fascinating and multidimensional look at decadence.Honorable Mention for the Aldo and Jeanne Scaglione Prize for Comparative Literary Studies from the Modern Language Association
ISBN: 9780801874642Publication Date: 2002-07-01 -
Details of Consequence
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Details of Consequence examines a trait that is taken for granted and rarely investigated in fin-de-siècle French music: ornamental extravagance. Considering why such composers as Claude Debussy, Maurice Ravel, Gabriel Fauré, Igor Stravinsky, and Erik Satie, turned their attention to the seemingly innocuous and allegedly superficial phenomenon of ornament at pivotal moments of their careers, this book shows that the range of decorative languages and unusual ways in which ornament is manifest in their works doesn't only suggest a willingness to decorate or render music beautiful. Rather, in keeping with the sorts of changes that decorative expression was undergoing in the work of Eugène Grasset, Pierre Bonnard, Henri Matisse, and other painters, composers also invested their creative energies in re-imagining ornament, relying on a variety of decorative techniques to emphasize what was new and unprecedented in their treatment of form, meter, rhythm, melody, and texture. Furthermore, abundant displays of ornament in their music served to privilege associations that had been previously condemned in Western philosophy such as femininity, sensuality, exoticism, mystery, and fantasy. Alongside specific visual examples, author Gurminder Kaur Bhogal offers analyses of piano pieces, orchestral music, chamber works, and compositions written for the Ballets Russes to highlight the disorienting effect of musical experiments with ornament. Acknowledging the willingness of listeners to borrow vocabulary from the visual arts when describing decorative music, Bhogal probes the formation of art-music metaphors, and studies the cognitive impetus behind tendencies to posit stylistic parallels. She further illustrates that the rising expressive status of ornament in music and art had broad social and cultural implications as evidenced by its widespread involvement in debates on French identity, style, aesthetics, and progress. Drawing on a range of recent scholarship in the humanities at large, including studies in feminist theory, nationalism, and orientalism, Details of Consequence is an intensely interdisciplinary look at an important facet of fin-de-siècle French music.
ISBN: 9780199795055Publication Date: 2013-10-09 -
Earthquakes and Explorations
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Like the earthquakes and explorations depicted on the covers of Gertrude Stein's notebooks, this study responds to artistic and linguistic fault lines and charts new territories. The author's concern is both with a general theoretical question - the relationship between painting and poetry, between the visual and the verbal - and with a specific period of artistic history - the early years of the twentieth century, when Cubism flourished. Rather than seeing any conflict or irreconcilable division between painting and poetry, Scobie proposes, as a model for their relation, the Derridean notion of 'the supplement.' This relation is grounded in the pervasiveness of language, in the ways in which language surrounds, imbues, structures, and supplements both verbal and non-verbal images. Working from the double focus of theory and history, this book does not attempt to develop a consecutive argument, but rather navigates around its topics, adopting a slightly different approach in each chapter. It begins with a general theoretical discussion of the role of language in painting and in art history, then moves to a series of specific discussions of aspects of Cubism, considering the paintings of Georges Braque, and the writings of Gertrude Stein and Guillaume Apollinaire. It concludes with an examination of the experimental form of concrete poetry, including sound and visual poetry, especially the Cubist-influenced work of Ian Hamilton Finlay. Earthquakes and Explorations will interest those studying art history, literary criticism, and critical theory.
ISBN: 9781442613201Publication Date: 1997-12-13 -
History Derailed
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There is probably no greater authority on the modern history of central and eastern Europe than Ivan Berend, whose previous work, Decades of Crisis, was hailed by critics as "masterful" and "the broadest synthesis of the modern social, economic, and cultural history of the region that we possess." Now, having brought together and illuminated this region's storm-tossed history in the twentieth century, Berend turns his attention to the equally turbulent period that preceded it. The "long" nineteenth century, extending up to World War I, contained the seeds of developments and crises that continue to haunt the region today. The book begins with an overview of the main historical trends in the sixteenth to the eighteenth centuries, during which time the region lost momentum and became the periphery, no longer in step with the rising West. It concludes with an account of the persisting authoritarian political structures and the failed modernization that paved the way for social and political revolts. The origins of twentieth-century extremism and its tragedies are plainly visible in this penetrating account.
ISBN: 9780520245259Publication Date: 2005-01-17 -
Looking and Listening
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Looking and Listening: Conversations between Modern Art and Music invites the art and music lover to place these two realms of creative endeavor into an open dialog. Although the worlds of music and visual art often seem to take separate paths, they are usually parallel. Conductor and art connoisseur Brenda Leach takes unique pairings of well-known visual art works and musical compositions from the twentieth century to identify the shared sources of inspiration, as well as similarities in theme, style, and technique, to explore the historical and cultural influences on the great artists and composers in the twentieth century. Looking and Listening asks and answers: What does jazz have in common with paintings by Stuart Davis and Piet Mondrian?How did Gershwin's Rhapsody in Blue affect the work of artist Arthur Dove? How did painter Georgia O'Keeffe and composer Aaron Copland capture the spirit of a youthful America entering the twentieth century? What did Kandinsky and Schoenberg share in their artistic visions? Leach takes readers on a whirlwind tour of the lives of these artists, surveying many of the key movements in the twentieth century by comparing representative works from the modern masters of the visual arts and music. Leach's refreshing and innovation approach will interest those passionate about twentieth-century art and music and is ideal for any student or instructor, museum docent, or music programmer seeking to draw the lines of connection between these two art forms.
ISBN: 1442241314Publication Date: 2014-11-13 -
Palestrina and the German Romantic Imagination
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Focusing on the reception of Palestrina, this bold interdisciplinary study explains how and why the works of a sixteenth-century composer came to be viewed as a paradigm for modern church music. It explores the diverse ways in which later composers responded to his works and style, and expounds a provocative model for interpreting compositional historicism. In addition to presenting insights into the works of Bruckner, Mendelssohn and Liszt, the book offers fresh perspectives on the institutional, aesthetic and ideological frameworks sustaining the cultivation of choral music in this period. This publication provides an overview and analysis of the relation between the Palestrina revival and nineteenth-century composition and it demonstrates that the Palestrina revival was just as significant for nineteenth-century culture as parallel movements in the other arts, such as the Gothic revival.
ISBN: 0511481799Publication Date: 2009-10-12 -
Reframing Decadence
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In Reframing Decadence, Peter Jeffreys shows Cavafy's creative indebtedness to British and French avant-garde aesthetes whose collective impact on his poetry proved to be profound. In the process, Jeffreys offers a critical reappraisal of Cavafy's relation to Victorian aestheticism and French literary decadence.
ISBN: 9781501701252Publication Date: 2016-02-19 -
Russian Opera and the Symbolist Movement
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An aesthetic, historical, and theoretical study of four scores, Russian Opera and the Symbolist Movement is a groundbreaking and imaginative treatment of the important yet neglected topic of Russian opera in the Silver Age. Spanning the gap between the supernatural Russian music of the nineteenth century and the compositions of Prokofiev and Stravinsky, this exceptionally insightful and well-researched book explores how Russian symbolist poets interpreted opera and prompted operatic innovation. Simon Morrison shows how these works, though stylistically and technically different, reveal the extent to which the operatic representation of the miraculous can be translated into its enactment. Morrison treats these largely unstudied pieces by canonical composers: Tchaikovsky's Queen of Spades, Rimsky-Korsakov's Legend of the Invisible City of Kitezh and the Maiden Fevroniya, Scriabin's unfinished Mysterium, and Prokofiev's Fiery Angel. The chapters, revisionist studies of these composers and scores, address separate aspects of Symbolist poetics, discussing such topics as literary and musical decadence, pagan-Christian syncretism, theurgy, and life creation, or the portrayal of art in life. The appendix offers the first complete English-language translation of Scriabin's libretto for the Preparatory Act. Providing valuable insight into both the Symbolist enterprise and Russian musicology, this book casts new light on opera's evolving, ambiguous place in fin de siècle culture.
ISBN: 9780520927261Publication Date: 2002-08-05 -
The Shape of Fear
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During the last decades of the nineteenth century, Charles Darwin, Thomas Henry Huxley, Walter Pater and others changed the nature of thought concerning the human body and the physical environment that had shaped it. In response, the 1890s saw the publication of a series of remarkable literary works that had their genesis in the intense scientific and aesthetic activity of those preceding decades--texts that emphasized themes of degeneration and were themselves stylistically decompositive, with language both a surrogate for physical deformity and a source of anxiety. Susan J. Navarette examines the ways in which scientific and cultural concerns of late nineteenth-century England are coded in the horror literature of the period. By contextualizing the structural, stylistic, and thematic systems developed by writers seeking to reenact textually the entropic forces they perceived in the natural world, Navarette reconstructs the late Victorian mentalité. She analyzes aesthetic responses to trends in contemporary science and explores horror writers' use of scientific methodologies to support their perception that a long-awaited period of cultural decline had begun. In her analysis of the classics Turn of the Screw and Heart of Darkness, Navarette shows how James and Conrad made artistic use of earlier "scientific" readings of the body. She also considers works by lesser-known authors Walter de la Mare, Vernon Lee, and Arthur Machen, who produced fin de siècle stories that took the form of "hybrid literary monstrosities." To underscore the fascination with bodily decay and deformation that these writers explored, The Shape of Fear is enhanced with prints and line drawings by Victor Hugo, James Ensor, and other artists of the day. This elegantly written book formulates a new canon of late Victorian fiction that will intrigue scholars of literature and cultural history.
ISBN: 9780813147949Publication Date: 2014-07-11 -
The Symbolist Movement in Literature
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First published in 1899, The Symbolist Movement in Literature was a highly influential work of criticism and introduced the French Symbolists to an Anglophone readership. Arthur Symons's interest in writers such as Verlaine and Mallarmé puts him at the heart of contemporary debates about Decadence and Symbolism in fin-de-siècle literature, but his work was also a formative influence on modernist writers such as James Joyce, George Eliot, Ezra Pound, and William Butler Yeats, helping to shape the role of the Image in modernist writing. This new critical edition makes available a key text that has been out of print for more than 50 years. It includes an introduction, chronology, and notes, together with appendices presenting the full text of Symons' essay "The Decadent Movement in Literature" and a selection of his translations of French poetry.
ISBN: 1847775454Publication Date: 2014-07-01 -
Erik Satie: Music, Art, and Literature
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Exploring the many aspects of Erik Satie's creativity, Caroline Potter examines his philosophy and psychology, revealed through his music; Satie's interest and participation in visual and literary artistic media; and his collaborations with other artists. His artistic activity, during a tumultuous time in the Parisian art world, situates him in an especially exciting period, and his friendships with Debussy, Stravinsky and others place Satie at the centre of French musical life. This book is essential reading for anyone interested in the French musical and cultural scene of the late nineteenth and early twentieth centuries.
ISBN: 1409434222Publication Date: 2013-09-13 -
German Modernism: Music and the Arts
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In this pioneering, erudite study of a pivotal era in the arts, Walter Frisch examines music and its relationship to early modernism in the Austro-German sphere. Seeking to explore the period on its own terms, Frisch questions the common assumption that works created from the later 1870s through World War I were transitional between late romanticism and high modernism. Drawing on a wide range of examples across different media, he establishes a cultural and intellectual context for late Richard Wagner, Richard Strauss, Gustav Mahler, and Arnold Schoenberg, as well as their less familiar contemporaries Eugen d'Albert, Hans Pfitzner, Max Reger, Max von Schillings, and Franz Schreker. Frisch explores "ambivalent" modernism in the last quarter of the nineteenth century as reflected in the attitudes of, and relationship between, Nietzsche and Wagner. He goes on to examine how naturalism, the first self-conscious movement of German modernism, intersected with musical values and practices of the day. He proposes convergences between music and the visual arts in the works of Brahms, Max Klinger, Schoenberg, and Kandinsky. Frisch also explains how, near the turn of the century, composers drew inspiration and techniques from music of the past--the Renaissance, Bach, Mozart, and Wagner. Finally, he demonstrates how irony became a key strategy in the novels and novellas of Thomas Mann, the symphonies of Mahler, and the operas of Strauss and Hofmannsthal.
ISBN: 0520243013Publication Date: 2005-07-25 -
Music since 1900
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An extensive descriptive chronology provides the backbone of the book, as the great lexicographer, musicologist and storyteller Nicolas Slonimsky offers a narrative walk through the major events in Western music for the better part of the 20th century. A dictionary of terms and a comprehensive index make this a most valuable source.
ISBN: 0028724186Publication Date: 1994-07-01 -
The marriage between literature and music
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Music and literature have often been interconnected through the centuries. This is an intellectual and spiritual marriage between two artistic worlds, which are both part of a creative system that lends voice to one another. As this book argues, while music is one single form of expression, literature can be expressed in the form of either poetry or prose. However, they find their apotheosis, their most natural relationship, when poetry is set to music, especially when it is lyrical and has similar phrasing and rhythms to music. The book, thus, shows that music offers an additional perspective to literature, while the latter gives words to the feelings that the former arouses. As such, though both can stand alone, if put together, they form a complementary entity that everybody can enjoy.
ISBN: 9781527581425Publication Date: 2022 -
Deleuze on Music, Painting, and the Arts
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First published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.
ISBN: 0415966086Publication Date: 2003-04-04
Books in Presser or FHG Library
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The Cambridge Companion to German Romanticism
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The late eighteenth and early nineteenth centuries saw an extraordinary flowering of arts and culture in Germany which produced many of the world's finest writers, artists, philosophers and composers. This volume, first published in 2004, offers students and specialists an authoritative introduction to that dazzling cultural phenomenon, now known collectively as German Romanticism. Individual chapters not only introduce the reader to individual writers such as Friedrich Schlegel, Novalis, Eichendorff, Heine, Hoffmann, Kleist, Schiller and Tieck, but also treat key concepts of Romantic music, painting, philosophy, gender and cultural anthropology, science and criticism in concise and lucid language. All German quotations are translated to make this volume fully accessible to a wide audience interested in how Romanticism evolved across Europe. Brief biographies and bibliographies are supplemented by a list of primary and secondary further reading in both English and German.
Call Number: Francis Harvey Green Library, Fifth Floor General Collection 830.9145 C178ISBN: 9780521848916Publication Date: 2009-07-09 -
The Cambridge History of Modernism
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This Cambridge History of Modernism is the first comprehensive history of modernism in the distinguished Cambridge Histories series. It identifies a distinctive temperament of 'modernism' within the 'modern' period, establishing the circumstances of modernized life as the ground and warrant for an art that becomes 'modernist' by virtue of its demonstrably self-conscious involvement in this modern condition. Following this sensibility from the end of the nineteenth century to the middle of the twentieth, tracking its manifestations across pan-European and transatlantic locations, the forty-three chapters offer a remarkable combination of breadth and focus. Prominent scholars of modernism provide analytical narratives of its literature, music, visual arts, architecture, philosophy, and science, offering circumstantial accounts of its diverse personnel in their many settings. These historically informed readings offer definitive accounts of the major work of twentieth-century cultural history and provide a new cornerstone for the study of modernism in the current century.
Call Number: F.H. Green Library, Fifth Floor General Collection ; 809.9112 C178hISBN: 1107034698Publication Date: 2017-01-11 -
Chronology of Western Classical Music, 1751-2000
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This 2-volume reference work offers a complete chronology of classical music from the 18th-century through the end of the 20th. Organized by year, each entry gives: births of key musicians/composers, deaths, performing debuts, new positions, prizes/honors, bibliographical highlights, cultural beginnings, musical literature, and compositions. This work answers hundreds of common questions, from "Who wrote that piece?" to "When was it first performed"? A complete index is given in each volume, making finding information quick and easy. This book will strongly appeal to music students, professors, and lovers of classical music.
Call Number: Presser Music Library: Books 780.9 H174 C4 v. 1&2ISBN: 0415938783Publication Date: 2002-10-04 -
Convergences in Music and Art
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Call Number: Presser Music Library: Books 780.07 S385ISBN: 0899901301Publication Date: 2005-10-01 -
Expressionism in Twentieth-Century Music
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"Idealism, rebellion against complacency, and an urgent need for new linguistic power with which to transcend their sense of spiritual crisis were characteristics common to expressionist painters, poets, and dramatists as well as to composers. Indeed, these individuals were frequently active in several fields. Expressionism in Twentieth-Century Music explores expressionism in music in relation to the same movement in other creative arts." "This humanist approach to music written in the first quarter of the twentieth century considers the biographical, cultural, and societal context in which these compositions were conceived and explores the psychological imperatives at the root of individual composers' innovations. John C. Crawford and Dorothy L. Crawford point out influential expressionist tendencies in Wagner, Richard Strauss, Mahler, Scriabin, and Mussorgsky, all of whom prepared the ground as forerunners to musical expressionism. The authors examine strongly expressionist traits in the works not only of Schoenberg, Berg, and Webern but also of Bartok, Stravinsky, Ives, and a "second generation" - Hindemith, Krenek, and Weill; and they find a legacy of expressionism in such composers as Ruggles and Shostakovich and in other iconoclasts still living." "In its interdisciplinary approach, the book is generously provided with musical analyses and excerpts from major expressionist compositions, examples of contemporaneous poetry (some of it written by the composers themselves), and reproductions of striking art works by Kandinsky, Marc, Kokoschka, Klimt, and Nolde, among others. A chapter is devoted to synthesis of the arts, which was uniquely important to expressionist composers." "Expressionism in Twentieth-Century Music demonstrates the interdependence of the arts in the twentieth century and makes a challenging body of music more accessible and meaningful to students, composers, and musicologists."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Call Number: Presser Music Library: Books ; 780.904 C899ISBN: 0253314739Publication Date: 1993-12-01 -
French Music, Culture, and National Identity, 1870-1939
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New, insightful essays from musicologists, historians, art historians, and literary scholars reconsider the relationship of Debussy, Gauguin, Zola, and other great French creative artists to cultural and political trends during the Third Republic.This collection of new essays examines the relationships between discourses of French national and regional identity, political alignment, and creative practice during one of France's most fascinating eras: the Third Republic.The authors, from a variety of disciplinary backgrounds, explore the ways in which the architects of the Third Republic [re]constructed France culturally and artistically, in part through artful use of the press and [at the 1889Paris World's Fair] new technologies. The chapters also investigate changing attitudes toward Debussy's opera Pelléas et Mélisande, attempts by composers and critics to define a musical canon, and the impact of religious education, spirituality, and exoticism for Gauguin and Jolivet. Tensions between the center and region are seen in celebrations for the national musical figurehead, Rameau, and in the cultural regionalism that flourished in the annexed territories of Alsace and Lorraine. Contributors: Edward Berenson, Katharine Ellis, Annegret Fauser, Didier Francfort, Brian Hart, Steven Huebner, Barbara L. Kelly, Detmar Klein, Deborah Mawer, James Ross, Marion Schmid, and Debora Silverman. Barbara L. Kelly is Professor of Musicology at Keele University.
Call Number: Presser Music Library: Books ; 306.4842 F875ISBN: 9781580462723Publication Date: 2008-05-01 -
German Modernism: Music and the Arts
by
In this pioneering, erudite study of a pivotal era in the arts, Walter Frisch examines music and its relationship to early modernism in the Austro-German sphere. Seeking to explore the period on its own terms, Frisch questions the common assumption that works created from the later 1870s through World War I were transitional between late romanticism and high modernism. Drawing on a wide range of examples across different media, he establishes a cultural and intellectual context for late Richard Wagner, Richard Strauss, Gustav Mahler, and Arnold Schoenberg, as well as their less familiar contemporaries Eugen d'Albert, Hans Pfitzner, Max Reger, Max von Schillings, and Franz Schreker. Frisch explores "ambivalent" modernism in the last quarter of the nineteenth century as reflected in the attitudes of, and relationship between, Nietzsche and Wagner. He goes on to examine how naturalism, the first self-conscious movement of German modernism, intersected with musical values and practices of the day. He proposes convergences between music and the visual arts in the works of Brahms, Max Klinger, Schoenberg, and Kandinsky. Frisch also explains how, near the turn of the century, composers drew inspiration and techniques from music of the past--the Renaissance, Bach, Mozart, and Wagner. Finally, he demonstrates how irony became a key strategy in the novels and novellas of Thomas Mann, the symphonies of Mahler, and the operas of Strauss and Hofmannsthal.
Call Number: Presser Music Library: Books ; 780.943 F917ISBN: 0520243013Publication Date: 2005-07-25
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An Introduction to Music and Art in the Western World
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Call Number: Presser Music Library: Books ; 709 W852 1972ISBN: 9780697031105Publication Date: 1972-01-01 -
Inventing Abstraction, 1910-1925
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In 1912, in several European cities, a handful of artists--Vasily Kandinsky, Frantisek Kupka, Francis Picabia and Robert Delaunay--presented the first abstract pictures to the public. Inventing Abstraction, published to accompany an exhibition at The Museum of Modern Art, celebrates the centennial of this bold new type of artwork. It traces the development of abstraction as it moved through a network of modern artists, from Marsden Hartley and Marcel Duchamp to Piet Mondrian and Kazimir Malevich, sweeping across nations and across media. This richly illustrated publication covers a wide range of artistic production--including paintings, drawings, books, sculptures, film, photography, sound poetry, atonal music and non-narrative dance--to draw a cross-media portrait of these watershed years. An introductory essay by Leah Dickerman, Curator in the Museum's Department of Painting and Sculpture, is followed by focused studies of key groups of works, events and critical issues in abstraction's early history by renowned scholars from a variety of fields.
Call Number: F.H. Green Library, Fifth Floor General Collection ; 709.0405 I62ISBN: 9780870708282Publication Date: 2013-01-31 -
Modernism and Music: An Anthology of Sources
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If in earlier eras music may have seemed slow to respond to advances in other artistic media, during the modernist age it asserted itself in the vanguard. Modernism and Music provides a rich selection of texts on this moment, some translated into English for the first time. It offers not only important statements by composers and critics, but also musical speculations by poets, novelists, philosophers, and others-all of which combine with Daniel Albright's extensive, interlinked commentary to place modernist music in the full context of intellectual and cultural history.
Call Number: Presser Music Library: Books ; 780.904 M689aISBN: 0226012662Publication Date: 2004-02-03 -
Untwisting the Serpent: modernism in music, literature, and other arts
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From its dissonant musics to its surrealist spectacles (the urinal is a violin!), Modernist art often seems to give more frustration than pleasure to its audience. In Untwisting the Serpent, Daniel Albright shows that this perception arises partly because we usually consider each art form in isolation, even though many of the most important artistic experiments of the Modernists were collaborations involving several media--Igor Stravinsky's The Rite of Spring is a ballet, Gertrude Stein's Four Saints in Three Acts is an opera, and Pablo Picasso turned his cubist paintings into costumes for Parade. Focusing on collaborations with a musical component, Albright views these works as either figures of dissonance that try to retain the distinctness of their various media (e.g. Guillaume Apollinaire's Les Mamelles de Tirésias) or figures of consonance that try to lose themselves in some total effect (e.g. Arnold Schoenberg's Erwartung). In so doing he offers a fresh picture of Modernism, and provides a compelling model for the analysis of all artistic collaborations. Untwisting the Serpent is the recipient of the 2001 Susanne M. Glasscock Humanities Book Prize for Interdisciplinary Scholarship of the Center for Humanities Research at Texas A&M University.
Call Number: F.H. Green Library, Fifth Floor General Collection ; 700.4112 A342ISBN: 9780226012544Publication Date: 1999-05-01 -
Putting Modernism Together
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How do you rationally connect the diverse literature, music, and painting of an age? Throughout the modernist era--which began roughly in 1872 with the Franco-Prussian War, climaxed with the Great War, and ended with a third catastrophe, the Great Depression--there was a special belligerence to this question. It was a cultural period that envisioned many different models of itself: to the Cubists, it looked like a vast jigsaw puzzle; to the Expressionists, it resembled a convulsive body; to the Dadaists, it brought to mind a heap of junk following an explosion. In Putting Modernism Together, Daniel Albright searches for the center of the modernist movement by assessing these various artistic models, exploring how they generated a stunning range of creative work that was nonetheless wound together aesthetically, and sorting out the cultural assumptions that made each philosophical system attractive. Emerging from Albright's lectures for a popular Harvard University course of the same name, the book investigates different methodologies for comparing the evolution and congruence of artistic movements by studying simultaneous developments that occurred during particularly key modernist years. What does it mean, Albright asks, that Joseph Conrad's Heart of Darkness, published in 1899, appeared at the same time as Claude Debussy's Nocturnes--beyond the fact that the word "Impressionist" has been used to describe each work? Why, in 1912, did the composer Arnold Schoenberg and the painter Vassily Kandinsky feel such striking artistic kinship? And how can we make sense of a movement, fragmented by isms, that looked for value in all sorts of under- or ill-valued places, including evil (Baudelaire), dung heaps (Chekhov), noise (Russolo), obscenity (Lawrence), and triviality (Satie)? Throughout Putting Modernism Together, Albright argues that human culture can best be understood as a growth-pattern or ramifying of artistic, intellectual, and political action. Going beyond merely explaining how the artists in these genres achieved their peculiar effects, he presents challenging new analyses of telling craft details which help students and scholars come to know more fully this bold age of aesthetic extremism.
Call Number: Presser Music Library: Books ; 809.9112 A342ISBN: 9781421416441Publication Date: 2015-06-10 -
Music and Painting: a study in comparative ideas from Turner to Schoenberg
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Call Number: Presser Music Library: Books ; 780.08 L816ISBN: 0064353257Publication Date: 1973-01-01 -
The New York Schools of Music and the Visual Arts
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Musicians and artists have always shared mutual interests and exchanged theories of art and creativity. This exchange climaxed just after World War II, when a group of New York-based musicians, including John Cage, Morton Feldman, Earle Brown, and David Tudor, formed friendships with a group of painters. The latter group, now known collectively as either the New York School or the Abstract Expressionists, included Jackson Pollock, Willem deKooning, Robert Motherwell, Mark Rothko, Barnett Newman, Clyfford Still, Franz Kline, Phillip Guston, and William Baziotes. The group also included a younger generation of artists-particularly Robert Rauschenberg and Jasper Johns-that stood somewhat apart from the Abstract Expressionists. This group of painters created what is arguably the first significant American movement in the visual arts. Inspired by the artists, the New York School composers accomplished a similar feat. By the beginning of the 1960s, the New York Schools of art and music had assumed a position of leadership in the world of art. For anyone interested in the development of 20th century art, music, and culture, The New York Schools of Music and Art will make for illuminating reading.
Call Number: Presser Music Library: Books ; 700.9747 N532ISBN: 0815333641Publication Date: 2001-11-05 -
Olivier Messiaen: Music, Art and Literature
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When Olivier Messiaen died in 1992, the prevailing image was of a man apart; a deeply religious man whose only sources of inspiration were God and Nature and a composer whose music progressed along an entirely individual path, artistically impervious to contemporaneous events and the whims both of his contemporaries and the critics. Whilst such a view contains a large element of truth, the past ten years has seen an explosion of interest in the composer, and the work of a diverse range of scholars has painted a much richer, more complex picture of Messiaen. This volume presents some of the fruits of this research for the first time, concentrating on three broad, interrelated areas: Messiaen's relationship with fellow artists; key developments in the composer's musical language and technique; and his influences, both sacred and secular. The volume assesses Messiaen's position as a creative artist of the twentieth century in the light of the latest research. In the process, it identifies some of the key myths, confusions and exaggerations surrounding the composer which often mask equally remarkable truths. In attempting to reveal some of those truths, the essays elucidate a little of the mystery surrounding Messiaen as a man, an artist, a believer and a musician. Specifically, the volume covers Messiaen's attitudes and associations to Cocteau, Stravinsky's Les Noces, Dutilleux and Toesca, as well as exploring his teaching techniques, the Traité de rythme, de couleur et d'ornithologie, Messiaen's harmony, performing and transcription techniques, composing for Ondes Martenot, his association with ballet, Saint François d'Assise and the influence of his faith. Messiaen himself contributes directly in the form of a speech that he gave about the tapestry-maker Jean Lurçat, and the collection also includes the first literary translation of L'âme en bourgeon; the garland of poems written by Messiaen's mother, Cécile Sauvage, when she was expecting him. The composer described these poems as 'the only influence' in his life, making L'âme en bourgeon a fascinating centrepiece to a rich and rewarding collection of essays.
Call Number: Presser Music Library: Books ; 780.92 M585xoISBN: 9780754652977Publication Date: 2007-06-21 -
The Oxford Handbook of Modernisms
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The Oxford Handbook of Modernisms situates literary modernisms and the modernist arts in a series of unfolding relations with mass society and popular culture in both national and transnational settings. An unparalleled resource containing over fifty specially commissioned essays, the Handbook updates and extends the scope and depth of previous synoptic guides, bringing together new approaches to the more obvious themes of modernist studies as well as new research on the variety of cultural, aesthetic, and geographical factors that were intrinsic to the creation of modernism. The contributors draw upon a variety of interdisciplinary approaches and new methodologies in order to take account of the development of revisionist modernist studies over the past three decades. Two particularly innovative features of the Handbook are its focus upon the cross media and international character of modernism. A number of the essays examine visual culture and other media in order to delineate the aesthetic, intellectual, and cultural formations linking the innovations and experiments of literary modernism with work in other arts and media. Others seek to analyse how Anglo-American and European models were inflected in a different temporal frame and in quite distinct geographical contexts. The Handbook is divided into six sections in order to reflect changed critical perspectives upon modernism's formal innovation and experiment, to foreground the relation of literature and the other arts, and to understand these in appropriate intellectual, social, and geocultural settings. The received canon is therefore revisited and 'made new' as the varying aspects of metropolitan, regional, national, and transnational modernisms come into view.
Call Number: F.H. Green Library, Fifth Floor General Collection ; 809.9112 O98ISBN: 9780199545445Publication Date: 2011-02-11 -
The Oxford Handbook of Transcendentalism
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The Oxford Handbook of Transcendentalism offers an ecclectic, comprehensive interdisciplinary approach to the immense cultural impact of the movement that encompassed literature, art, architecture, science, and politics.
Call Number: F.H. Green Library, Fifth Floor General Collection ; 810.9384 O98ISBN: 9780195331035Publication Date: 2010-04-16 -
Romanticism
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This book is a comprehensive guide to the richness and diversity of the Romantic field. It includes 46 specially commissioned chapters by an international team of leading scholars and combines chapters offering background and contextual information with detailed readings of Romantic texts. The volume is divided into four parts - 'Romantic Orientations', 'Reading Romanticism', 'Romantic Forms' and 'Romantic Afterlives'.
Call Number: F.H. Green Library, Fifth Floor General Collection ; 820.9 R759rISBN: 0199258406Publication Date: 2005-02-24 -
The Routledge Companion to Music and Visual Culture
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As a coherent field of research, the field of music and visual culture has seen rapid growth in recent years. The Routledge Companion to Music and Visual Culture serves as the first comprehensive reference on the intersection between these two areas of study, an ideal introduction for those coming to the field for the first time as well as a useful source of information for seasoned researchers. This collection of over forty entries, from musicologists and art historians from the US and UK, delineate the key concepts in the field in five parts: Starting Points Methodologies Reciprocation - the musical in visual culture and the visual in musical culture Convergence -in metaphor, in conception, and in practice Hybrid Arts This reference work speaks to the important questions concerning this burgeoning field of research -what are the established approaches to studying musical and visual cultures side by side? What have been the major points of contact between these two areas and what kind of questions can this interdisciplinary research address moving forward? The Routledge Companion to Music and Visual Culture is an indispensable guide for anyone interested in the field of music and visual culture.
Call Number: Presser Music Library: Books ; 780.07 R869ISBN: 9780415629256Publication Date: 2013-09-18 -
Soundings: Music in the 20th Century
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Preface. PART 1: VIENNA: 1885-1915. 1. The German Romantic Legacy. 2. Schoenberg to 1909: Extending Traditions. 3. Webern: Opus 1 to Opus 12. 4. Alban Berg Before Wozzeck. PART TWO: PARIS: 1885-1915. 5. Debussy: Impressionism and Symbolism. 6. Maurice Ravel to the Mallarme Songs (1913). 7. Exoticism: Importations from Abroad. 8. Symbolist Reverberations Abroad (I): Decadent Symbolism. 9. Symbolist Reverberations Abroad (II): Synesthetic Symbolism. PART THREE: EMEBLEMS OF CRISIS: 1909-1914. 10. Expressionism: The Path to Pierrot. 11. Primitivism: The Road to the Rite. 12. Futurism: Manifestos and Machines. 13. The New Simplicities: France. 14. The New Simplicities: Germany. 15. Toward Neoclassicism. 16. Zemlinsky''''s Lyric Symphony: Against the Tide. 17. Berg: Wozzeck and the Violin Concerto. 18. Weberns Path to the New Music. PART FIVE: EMERGING NATIONAL ASPIRATIONS: 1910-1945. 19. Hungary: Bela Bartok. 20. Russians Abroad and At Home. 21. The Twentieth-Century Spanish and English Renaissance. 22. An American" Music for America. PART SIX: BEYOND NATIONALISM: 1920-1950. 23. Rituals, Liturgies, and Voices of War. PART SEVEN: POSTWAR SERIALISM AND THE RISE OF AN INTERNATIONAL AVANT-GARDE. 24. Europe: In Search of a Common Practice. 25. The United States of America. 26. Serialism and the European Old Guard. 27. The International Avant-Garde: Choice and Chance.PART EIGHT: THE QUEST FOR NEW SOUNDS. 28. Electronics and Explorations of Duration, Timbre, and Space. 29. The New Virtuosity. PART NINE: PAST IMPERFECT-FUTURE SUBJUNCTIVE. 30. Users of the Past: A Synthesis. 31. Users of the Past: The Generic Revivals. 32. Envoi.Notes. Index."
ISBN: 0028732901Publication Date: 1995-10-26 -
A Twentieth-Century Musical Chronicle
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This chronological reference guide provides general information about music, musicians, performers, composers and musicologists, presented in the context of world events as well as developments in art and literature. The entries span the period from 1900 to 1988, and included for each year are listings of world events, cultural highlights, musical events, debuts, new positions, prizes and honours, biographical highlights, institutional openings, new books published on music and new musical compositions.
Call Number: Presser Music Library: Books ; 780.904 H174tISBN: 9780313265778Publication Date: 1989-08-01
