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The quilting points of musical modernism : revolution, reaction, and William Walton /
Modernism is both a contested aesthetic category and a powerful political statement. Modernist music was condemned as degenerate by the Nazis and forcibly replaced by socialist realism under the Soviets. Sympathetic philosophers and critics have interpreted it as a vital intellectual defence against...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Cambridge ; New York :
Cambridge University Press,
2012.
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| Colección: | Music in context.
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| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 100 | 1 | |a Harper-Scott, J. P. E. |q (John Paul Edward), |d 1977- | |
| 245 | 1 | 4 | |a The quilting points of musical modernism : |b revolution, reaction, and William Walton / |c J.P.E. Harper-Scott. |
| 260 | |a Cambridge ; |a New York : |b Cambridge University Press, |c 2012. | ||
| 300 | |a 1 online resource (xxii, 277 pages) : |b illustrations, music | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a computer |b c |2 rdamedia | ||
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| 490 | 1 | |a Music in context | |
| 520 | |a Modernism is both a contested aesthetic category and a powerful political statement. Modernist music was condemned as degenerate by the Nazis and forcibly replaced by socialist realism under the Soviets. Sympathetic philosophers and critics have interpreted it as a vital intellectual defence against totalitarianism, yet some American critics consider it elitist, undemocratic, and even unnatural. Drawing extensively on the philosophy of Heidegger and Badiou, Quilting Points proposes a new dialectical theory of faithful, reactive, and obscure subjective responses to musical modernism, which embraces all the music of Western modernity. | ||
| 504 | |a Includes bibliographical references and index. | ||
| 588 | 0 | |a Print version record. | |
| 505 | 0 | |a Cover; The Quilting Points of Musical Modernism; Series editors; Title; Copyright; Dedication; Contents; Illustrations; Preface; The structure of the book; On communism and musicology; Acknowledgements; PART I A ruthless criticism of everything existing; 1 Modernism as we know it, ideology, and the quilting point; 1.1 Taruskin's erasure of modernism; 1.2 The xenophobic-capitalist quilting point; 1.3 Traversing the ideological; 1.4 Quilted history 1: maximalization as minimalization; 1.5 Quilted history 2: the triumph of American capitalism; 1.6 Technical definitions of modernism. | |
| 505 | 8 | |a 1.7 Presence and presencingPART II Relationship problems; 2 Modernism, love, and truth; 2.1 Troilus, Cressida, and takeaway sex; 2.2 Coke and sex; 2.3 Love as supplement/excess; 2.4 Ideology, the count, and the void; 2.5 Three theses of sexed positions: segregative, humanistic, and Aristophanean; 2.6 Wagnerian music drama and the excision of u; 2.7 The two movements of love; 2.8 Creating subjects: men, women, and Schoenberg; 2.9 Schenker, Eroica, and the emancipation of dissonance; 2.10 Forcing: serialism as veridical in the situation 'to come'; 3 The love of Troilus and Cressida. | |
| 505 | 8 | |a 3.1 The plot3.2 The politics of pornography; 3.3 Sacred and profane; 3.4 Whatever; 3.5 'Newfangelnesse'; 3.6 Cressida's barred subjectivity; 3.7 Psychoanalytic objects; 3.8 Tristanesque objects of desire; 3.9 Gendering Cressida and Troilus; 3.10 Resisting interpellation; 3.11 Betrayal is love; PART III The revolutionary kernel of reactionary music; 4 Communist modernism; 4.1 Walton in the sequences of communism; 4.2 Walton's 'modernism'; 4.3 Truths, bodies, and traces; 4.4 Faithful subjects; 4.5 Reactive subjects; 4.6 Obscure subjects; 4.7 Resurrection; 4.8 Why emancipation of dissonance? | |
| 505 | 8 | |a 5.10 The motion from the faithful to the reactive subjectAfterword: what to do?; Bibliography; Index. | |
| 590 | |a eBooks on EBSCOhost |b EBSCO eBook Subscription Academic Collection - Worldwide | ||
| 600 | 1 | 7 | |a Walton, William |c Sir |d 1902-1983 |2 gnd |
| 650 | 0 | |a Music |y 20th century |x Philosophy and aesthetics. | |
| 650 | 0 | |a Modernism (Music) | |
| 650 | 6 | |a Musique |y 20e siècle |x Philosophie et esthétique. | |
| 650 | 6 | |a Modernisme (Musique) | |
| 650 | 7 | |a MUSIC |x History & Criticism. |2 bisacsh | |
| 650 | 7 | |a Modernism (Music) |2 fast | |
| 650 | 7 | |a Music |x Philosophy and aesthetics |2 fast | |
| 650 | 7 | |a Neue Musik |2 gnd | |
| 650 | 7 | |a Politik |2 gnd | |
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| 776 | 0 | 8 | |i Print version: |a Harper-Scott, J.P.E. (John Paul Edward), 1977- |t Quilting points of musical modernism. |d Cambridge ; New York : Cambridge University Press, 2012 |z 9780521765213 |w (DLC) 2012015415 |w (OCoLC)789149856 |
| 830 | 0 | |a Music in context. | |
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