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In his first book, Listening Subjects, David Schwarz succeeded in fusing post-Lacanian psychoanalytic, musical-theoretical, and musical-historical perspectives. In Listening Awry, he expands his project to “tell a story of historical modernism writ large”—how German music spanning two centuries refracts changes in society and culture, as well as the impacts of concepts introduced by psychoanalysis. Schwarz shows how post-Lacanian psychoanalysis can be applied to ideological interpellation that connects psychoanalysis to culture and how music theory can ground these considerations in precise details of musical textuality. He “listens awry” in several ways: by understanding musical meaning in both objective and socially structured ways, by embracing historical and also aesthetic approaches, by addressing high art as well as popular music, and by listening “around” conventional forms of musical meaning to reach toward that which evades signification. Structured around four themes—trauma, the other/Other, the look/gaze binary, and Judaism—Listening Awry explores five key moments in post-Enlightenment music: the rise of the singular orchestral conductor and the emergence of a new form of alterity, the Art Song and “the sublime of the delicate” (a correlate of the Kantian mathematical and dynamical sublime), the birth of psychoanalysis and the twentieth-century turn toward atonality, German war songs and the subversion of German music by the Nazis, and two different versions of Wagner’s Parsifal that were performed one hundred years apart and in radically different contexts. This highly original work, filled with imaginative readings and disquieting observations, links trauma with the culture and history of modernity and German music, deftly tying the experience of the body to the sounds it hears: how it reaches us slowly, penetrates the skin, and resonates. David Schwarz is assistant professor of music at the University of North Texas. He is the author of Listening Subjects: Music, Psychoanalysis, Culture.
On psychoanalysis and music appreciation
"Of the many composers in the Western classical tradition who celebrated the marriage between psyche and sound, those explored in this book followed the lines diverging from Wagner in philosophizing the nature of desire in music. This books offers two new theories of tonal functionality in the music of the first half of the twentieth century that seek to explain its psychological complexities. First, the book further develops Riemann's three diatonic chord functions, extending them to account from chromatic chord progression and substitution. The three functions (Tonic, Subdominant, Dominant) are compared to Jacques Lacan's twin-concepts of metaphor and metonymy which drive the human desiring apparatus. Second, the book develops a technique for analysing the "drives" that pull chromatic music in multiple directions simultaneously, creating a libidinal surface that mirrors the tensions of the psyche found in Schopenhauer, Freud and post-Freudians-Lacan, Lyotard, and Deleuze.The harmonic models are tested in psychologically challenging pieces of music by post-Wagnerian composers. From the obsession with death and mourning in Josef Suk's Asrael Symphony to an exploration of "perversion" in Richard Strauss's Elektra; from the post-Kantian transcendentalism of Charles Ives' Concord Sonata to the "Accelerationism" of Skryabin's late piano works; from the Sufi mysticism of Szymanowski's Song of the Night to the failed fantasy of the American dream in Aaron Copland's The Tender Land, the book cuts a path through the dense forests of chromatic complexity, and digs deep into the psychological make-up of post-Wagnerian psychodynamic music"--
The DJ stands at a juncture of technology, performance and culture in the increasingly uncertain climate of the popular music industry, functioning both as pioneer of musical taste and gatekeeper of the music industry. Together with promoters, producers, video jockeys (VJs) and other professionals in dance music scenes, DJs have pushed forward music techniques and technological developments in last few decades, from mashups and remixes to digital systems for emulating vinyl performance modes. This book is the outcome of international collaboration among academics in the study of electronic dance music. Mixing established and upcoming researchers from the US, Canada, the UK, Germany, Austria, Sweden, Australia and Brazil, the collection offers critical insights into DJ activities in a range of global dance music contexts. In particular, chapters address digitization and performativity, as well as issues surrounding the gender dynamics and political economies of DJ cultures and practices.
How does the constant presence of music in modern life—on iPods, in shops and elevators, on television—affect the way we listen? With so much of this sound, whether imposed or chosen, only partially present to us, is the act of listening degraded by such passive listening? In Ubiquitous Listening, Anahid Kassabian investigates the many sounds that surround us and argues that this ubiquity has led to different kinds of listening. Kassabian argues for a new examination of the music we do not normally hear (and by implication, that we do), one that examines the way it is used as a marketing tool and a mood modulator, and exploring the ways we engage with this music.
Pierre Boulez is acknowledged as one of the most important composers in contemporary musical life. This collection explores his works, influence, reception and legacy, shedding new light on Boulez's music and its historical and cultural contexts. In two sections that focus firstly on the context of the 1940s and 1950s, and secondly on the development of the composer's style, the contributors address recurring themes such as Boulez's approach to the serial principle and the related issues of form and large-scale structure. Featuring excerpts from Boulez's correspondence with a range of his contemporaries here published for the first time, the book illuminates both Boulez's relationship with them and his thinking concerning the challenges which confronted both him and other leading figures of the European avant-garde. In the final section, three chapters examine Boulez's relationship with audiences in the United Kingdom, and the development of the appreciation of his music.
"Hans-Jürgen Syberberg is an original, the most controversial of all the New German directors and a figure who has long been at the vanguard of the resurgence of experimental filmmaking in his homeland. Syberberg’s most characteristic films examine recent German history: a documentary, for example, about Richard Wagner’s daughter-in-law, who was a close friend of Hitler (The Confessions of Winifred Wagner [1975]). But especially “historical” is his trilogy covering one hundred years of Germany’s past, including, most famously, Hitler—A Film from Germany, also known as Our Hitler (1977). In this film and other works, Syberberg unites fictional narrative and documentary footage in a style that is at once cinematic and theatrical, mystical and magical. Hans-Jürgen Syberberg, the Film Director as Critical Thinker: Essays and Interviews is the first edited book in English devoted to this director’s work, and includes his most important English-language interviews as well as some of the best English-language essays on his work. In sum, this book is a significant contribution not only to the study of Syberberg’s oeuvre, but also to the study of German history and politics in the second half of the twentieth century."
Di Benedetto considers theatrical practice through the lens of contemporary neuroscientific discoveries in this provoking study, which lays the foundation for considering the physiological basis of the power of theatre practice to affect human behavior. He presents a basic summary of the ways that the senses function in relation to cognitive science and physiology, offering an overview of dominant trends of discussion on the realm of the senses in performance. Also presented are examples of how those ideas are illustrated in recent theatrical presentations, and how the different senses form the structure of a theatrical event. Di Benedetto concludes by suggesting the possible implications these neuroscientific ideas have upon our understanding of theatrical composition, audience response, and the generation of meaning.
In Queer Opera, Andrew Sutherland argues that operas often reflect characteristics of the society and epistime in which they are written but that they also do much more than that; operas have agency. LGBTQ+ social, cultural, and political issues have become an increasingly defining feature of twenty-first century life, and as agency for change, composers have turned to opera to underscore the lived queer experience. Sutherland posits that operas written before the sexual revolution of the mid-twentieth century utilized a codified language both in the libretto and score, communicating with those observers open to a queer reading. He explores the growing trend of local, small-scale, independent opera companies seen around the world towards the end of the first decade of the twenty-first century and argues that this has emboldened queer artists to reclaim opera as a queer space. He further argues that for several centuries, opera houses have been safe havens for queer composers, librettists, performers, and designers, and yet it is only relatively recently that any serious attempt at queer representation in operatic works has begun to be realized. In this book, he examines narratives and music of selected operas to walk through queer history in Western societies and shines a light on how many of opera’s well-known characters, based on historical figures who represent pivotal moments in the queer story, are responsible in a variety of ways for the continued struggle for queer acceptance.
Scholars consider sound and its concepts, taking as their premise the idea that popular culture can be analyzed in an innovative way through sound. The wide-ranging texts in this book take as their premise the idea that sound is a subject through which popular culture can be analyzed in an innovative way. From an infant's gurgles over a baby monitor to the roar of the crowd in a stadium to the sub-bass frequencies produced by sound systems in the disco era, sound—not necessarily aestheticized as music—is inextricably part of the many domains of popular culture. Expanding the view taken by many scholars of cultural studies, the contributors consider cultural practices concerning sound not merely as semiotic or signifying processes but as material, physical, perceptual, and sensory processes that integrate a multitude of cultural traditions and forms of knowledge. The chapters discuss conceptual issues as well as terminologies and research methods; analyze historical and contemporary case studies of listening in various sound cultures; and consider the ways contemporary practices of sound generation are applied in the diverse fields in which sounds are produced, mastered, distorted, processed, or enhanced. The chapters are not only about sound; they offer a study through sound—echoes from the past, resonances of the present, and the contradictions and discontinuities that suggest the future. Contributors Karin Bijsterveld, Susanne Binas-Preisendörfer, Carolyn Birdsall, Jochen Bonz, Michael Bull, Thomas Burkhalter, Mark J. Butler, Diedrich Diederichsen, Veit Erlmann, Franco Fabbri, Golo Föllmer, Marta García Quiñones, Mark Grimshaw, Rolf Großmann, Maria Hanáček, Thomas Hecken, Anahid Kassabian, Carla J. Maier, Andrea Mihm, Bodo Mrozek, Carlo Nardi, Jens Gerrit Papenburg, Thomas Schopp, Holger Schulze, Toby Seay, Jacob Smith, Paul Théberge, Peter Wicke, Simon Zagorski-Thomas