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From 1989, or European Music and the Modernist Unconscious /
"What happened to musical modernism? When did it end? Did it end? In this unorthodox Lacanian account of European "New Music," Seth Brodsky focuses on the unlikely year 1989, when New Music hardly takes center-stage. Instead one finds Rostropovich playing Bach at Checkpoint Charlie; o...
| Autor principal: | |
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| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Oakland, California :
University of California Press,
[2017]
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| Colección: | Book collections on Project MUSE.
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| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 100 | 1 | |a Brodsky, Seth, |d 1975- |e author. | |
| 245 | 1 | 0 | |a From 1989, or European Music and the Modernist Unconscious / |c Seth Brodsky. |
| 264 | 1 | |a Oakland, California : |b University of California Press, |c [2017] | |
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| 264 | 4 | |c ©[2017] | |
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| 505 | 0 | |a Cover; FROM 1989, OR EUROPEAN MUSIC AND THE MODERNIST UNCONSCIOUS; Title; Copyright; Dedication; CONTENTS; List of Illustrations; Acknowledgments; Introduction: "But supposing He does not come"; PART ONE. FREE; 1. Drei Phantasiestücke (1); 2. Fantasy & Fantasy (1); 3. Drei Phantasiestücke (2); 4. Fantasy & Fantasy (2); 5. Drei Phantasiestücke (3); PART TWO. NEW; 6. Freiheitsdreck (1); 7. Music & New Music (1); 8. Fantasy & Fantasy (3); 9. Freiheitsdreck (2); 10. Freiheitsdreck (3); PART THREE. AGAIN; 11. Repetition (1); 12. Repetition (2); 13. Repetition (3); 14. Repetition (4). | |
| 505 | 0 | |a 15. Music & New Music (2)Notes; Index. | |
| 520 | |a "What happened to musical modernism? When did it end? Did it end? In this unorthodox Lacanian account of European "New Music," Seth Brodsky focuses on the unlikely year 1989, when New Music hardly takes center-stage. Instead one finds Rostropovich playing Bach at Checkpoint Charlie; or Bernstein changing "joy" to "freedom" in Beethoven's Ninth; or David Hasselhoff lip-syncing "Looking for freedom" to thousands on New Year's Eve. But if such spectacles claim to master their historical moment, New Music unconsciously takes the role of analyst. In so doing it restages earlier scenes of modernism. As world politics witnesses a turning-away from the possibility of revolution, musical modernism revolves in place, performing century-old tasks of losing, failing, and beginning again, in preparation for a revolution-to-come"--Provided by publisher | ||
| 588 | |a Description based on print version record. | ||
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