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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 |
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| 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 |
Tabla de Contenidos:
- 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.
- 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.
- 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?
- 5.10 The motion from the faithful to the reactive subjectAfterword: what to do?; Bibliography; Index.