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This first book in English on the French composer André Jolivet (1905–1974) investigates his music, life and influence. A pupil of Varèse and colleague of Messiaen in La Jeune France, Jolivet is a major figure in French music of the twentieth century. His music combines innovative language with spirituality, summarised in his self-declared axiom to ‘restore music’s ancient original meaning when it was the magic and incantatory expression of the sacred in human communities’. The book’s contextual introduction is followed by contributions, edited by Caroline Rae, from leading international scholars including the composer’s daughter Christine Jolivet-Erlih. These assess Jolivet’s output and activities from the 1920s through to his last works, exploring creative process, aesthetic, his relationship with the exotic and influences from literature. They also examine, for the first time, the significance of Jolivet’s involvement with the visual arts and his activities as conductor, teacher and critic. A chronology of Jolivet’s life and works with details of first performances provides valuable overview and reference. This fascinating and comprehensive volume is an indispensable source for research into French music and culture of the twentieth century.
This book is the first major study that explores the intrinsic connection between music and myth, as Nietzsche conceived of it in The Birth of Tragedy (1872), in three great works of modern literature: Romain Rolland’s Nobel Prize winning novel Jean-Christophe (1904-12), James Joyce’s modernist epic Ulysses (1922), and Thomas Mann’s late masterpiece Doctor Faustus (1947). Juxtaposing Nietzsche’s conception of the Apollonian and Dionysian with narrative depictions of music and myth, Josh Torabi challenges the common view that the latter half of The Birth of Tragedy is of secondary importance to the first. Informed by a deep knowledge of Nietzsche’s early aesthetics, the book goes on to offer a fresh and original perspective on Ulysses and Doctor Faustus, two world-famous novels that are rarely discussed together, and makes the case for the significance of Jean-Christophe, which has been unfairly neglected in the Anglophone world, despite Rolland’s status as a major figure in twentieth-century intellectual and literary history. This unique study reveals new depths to the work of our most enduring writers and thinkers.
This book, taking an interdisciplinary approach, proposes a new insight into the relationship between literature and music through the prism of Anthony Burgessâ (TM)s works and those of his spiritual fathers, be they writers or composers. Exploring this relationship not only helps us to appreciate the complex mechanisms of certain artistic creations, but also demonstrates the parallels between these two major modes of artistic expression as well as showing the limits of trying to superimpose them. A selected panel of brilliant international scholars tackles the challenge of examining this relationship by providing original explanatory comments on the musicality of literature and the literary aspects of music. The book includes many pertinent references to a variety of artists ranging from musicians such as Mozart, Beethoven and Debussy to authors such as Joyce, Eliot and Huxley. Finally, it offers, through a wide spectrum of analyses, enrichment to scholars, students and general readers of the works of Burgess and of others in which literary and musical domains meet.
The confluence between music and literature, long hymned as sister arts, is a newly burgeoning field of critical inquiry. This innovative collection of interdisciplinary essays provides a valuable introduction to the field, mapping the contours of recent research and investigating the mutual aesthetic influence of the two arts and their common historical ground. The examination of literary works using music as an analogy for literary composition and agent of cultural value, and the consideration of musical works whose structure is derived from literary models will excite the interest of both professional scholars and students in the fields of musicology, literary studies and modern European languages. (Legenda 2006) Delia da Sousa Correa is Lecturer in Literature at The Open University. She is the author of George Eliot, Music and Victorian Culture (2002) and editor of
Why does poetry appeal to music? Can music be said to communicate, as language does? What, between music and poetry, is it possible to translate? These fundamental questions have remained obstinately difficult, despite the recent burgeoning of word and music studies. Peter Dayan contends that the reasons for this difficulty were worked out with extraordinary rigour and consistency in a French literary tradition, echoed by composers such as Berlioz and Debussy, which stretches from Sand to Derrida. Their writing shows how it is both necessary and futile to look for music in poetry, or for poetry in music.
Erik Satie (1866-1925) was a quirky, innovative and enigmatic composer whose impact has spread far beyond the musical world. As an artist active in several spheres - from cabaret to religion, from calligraphy to poetry and playwriting - and collaborator with some of the leading avant-garde figures of the day, including Cocteau, Picasso, Diaghilev and René Clair, he was one of few genuinely cross-disciplinary composers. 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 him at the centre of French musical life. He was a unique figure whose art is immediately recognisable, whatever the medium he employed. Erik Satie: Music, Art and Literature explores many aspects of Satie's creativity to give a full picture of this most multifaceted of composers. The focus is on Satie's philosophy and psychology revealed through his music; Satie's interest in and participation in artistic media other than music, and Satie's collaborations with other artists. This book is therefore essential reading for anyone interested in the French musical and cultural scene of the late nineteenth and early twentieth century.
This volume explores the role of music as a source of inspiration and provocation for modernist writers. In its consideration of modernist literature within a broad political, postcolonial, and internationalist context, this book is an important intervention in the growing field of Words and Music studies. It expands the existing critical debate to include lesser-known writers alongside Joyce, Woolf, and Beckett, a wide-ranging definition of modernism, and the influence of contemporary music on modernist writers. From the rhythm of Tagore’s poetry to the influence of jazz improvisation, the tonality of traditional Irish music to the operas of Wagner, these essays reframe our sense of how music inspired Literary Modernism. Exploring the points at which the art forms of music and literature collide, repel, and combine, contributors draw on their deep musical knowledge to produce close readings of prose, poetry, and drama, confronting the concept of what makes writing "musical." In doing so, they uncover commonalities: modernist writers pursue simultaneity and polyphony, evolve the leitmotif for literary purposes, and adapt the formal innovations of twentieth-century music. The essays explore whether it is possible for literature to achieve that unity of form and subject which music enjoys, and whether literary texts can resist paraphrase, can be simply themselves. This book demonstrates how attention to the role of music in text in turn illuminates the manner in which we read literature.
A collection of 400 passages on music from early Christian literature.
This book explores the relationship between words and music in contemporary texts, examining, in particular, the way that new technologies are changing the literature-music relationship. It brings an eclectic and novel range of interdisciplinary theories to the area of musico-literary studies, drawing from the fields of semiotics, disability studies, musicology, psychoanalysis, music psychology, emotion and affect theory, new media, cosmopolitanism, globalization, ethnicity and biraciality. Chapters range from critical analyses of the representation of music and the musical profession in contemporary novels to examination of the forms and cultural meanings of contemporary intermedia and multimedia works. The book argues that conjunctions between words and music create emergent structures and meanings that can facilitate culturally transgressive and boundary- interrogating effects. In particular, it conceptualises ways in which word-music relationships can facilitate cross-cultural exchange as musico-literary miscegenation, using interracial sexual relationships as a metaphor. Smith also inspects the dynamics of improvisation and composition, and the different ways they intersect with performance. Furthermore, the book explores the huge changes that computer-based real-time algorithmic text and music generation are making to the literature-music nexus. This volume provides fascinating insight into the relationship between literature and music, and will be of interest to those fields as well as New Media and Performance Studies.