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This is the first book-length study of the genre of 'artist-opera', in which the work's central character is an artist who is uncomfortable with his place in the world. It investigates how three such operas (Pfitzner's Palestrina (1915), Krenek's Jonny spielt auf (1926) and Hindemith's Mathis der Maler (1935)) contributed to the debate in early twentieth-century Germany about the place of art and the artist in modern society, and examines how far the artist-character may be taken as functioning as a persona for the real composer of the work. Because of their concern with the place of art within society, the works are also engaged with inherently political questions, and each opera is read in the light of the political context of its time: conservatism circa World War I, Americanism and democracy, and the rise of National Socialism.
This is the first book-length study of the genre of 'artist-opera', in which the work's central character is an artist who is uncomfortable with his place in the world. It investigates how three such operas (Pfitzner's Palestrina (1915), Krenek's Jonny spielt auf (1926) and Hindemith's Mathis der Maler (1935)) contributed to the debate in early twentieth-century Germany about the place of art and the artist in modern society, and examines how far the artist-character may be taken as functioning as a persona for the real composer of the work. Because of their concern with the place of art within society, the works are also engaged with inherently political questions, and each opera is read in the light of the political context of its time: conservatism circa World War I, Americanism and democracy, and the rise of National Socialism.
This book addresses the ways in which masculinity is negotiated, constructed, represented, and problematized within operatic music and practice. Although the consideration of masculine ontology and epistemology has pervaded cultural and sociological studies since the late 1980s, and masculinity has been the focus of recent if sporadic musicological discussion, the relationship between masculinity and opera has so far escaped detailed critical scrutiny. Operating from a position of sympathy with feminist and queer approaches and the phallocentric tendencies they identify, this study offers a unique perspective on the cultural relativism of opera by focusing on the male operatic subject. Anchored by musical analysis or close readings of musical discourse, the contributions take an interdisciplinary approach by also engaging with theatre, popular music, and cultural musicology scholarship. The various musical, theoretical, and socio-political trajectories of the essays are historically dispersed from seventeenth to twentieth- first-century operatic works and practices, visiting masculinity and the operatic voice, the complication or refusal of essentialist notions of masculinity, and the operatic representation of the ‘crisis’ of masculinity. This volume will not only enliven the study of masculinity in opera, but be an appealing contribution to music scholars interested in gender, history, and new musicology.
Paul Hindemith: A Research and Information Guide is an annotated bibliography concerning both the nature of primary sources related to the composer and the scope and significance of the secondary sources which deal with him, his compositions, and his influence as a musician and teacher. The second edition includes research published since the publication of the first edition and provides electronic resources.
Adopting and transforming the Romantic fascination with mountains, modernism in the German-speaking lands claimed the Alps as a space both of resistance and of escape. This new 'cult of mountains' reacted to the symptoms and alienating forces associated with modern culture, defining and reinforcing models of subjectivity based on renewed wholeness and an aggressive attitude to physical and mental health. The arts were critical to this project, none more so than music, which occupied a similar space in Austro-German culture: autonomous, pure, sublime. In Modernism and the Cult of Mountains opera serves as a nexus, shedding light on the circulation of contesting ideas about politics, nature, technology and aesthetics. Morris investigates operatic representations of the high mountains in German modernism, showing how the liminal quality of the landscape forms the backdrop for opera's reflexive engagement with the identity and limits of its constituent media, not least music. This operatic reflexivity, in which the very question of music's identity is repeatedly restaged, invites consideration of musical encounters with mountains in other genres, and Morris shows how these issues resonate in Strauss's Alpine Symphony and in the Bergfilm (mountain film). By using music and the ideology of mountains to illuminate aspects of each other, Morris makes an original and valuable contribution to the critical study of modernism.
Notions of crisis have long charged the study of the European avant-garde and modernism, reflecting the often turbulent nature of their development. Throughout their history, the avant-garde and modernists have both confronted and instigated crises, be they economic or political, aesthetic or philosophical, collective or individual, local or global, short or perennial. The seventh volume in the series European Avant-Garde and Modernism Studies addresses the myriad ways in which the avant-garde and modernism have responded and related to crisis from the late nineteenth to the twenty-first century. How have Europe’s avant-garde and modernist movements given aesthetic shape to their crisis-laden trajectory? Given the many different watershed moments the avant-garde and modernism have faced over the centuries, what common threads link the critical points of their development? Alternatively, what kinds of crises have their experimental practices and critical modes yielded? The volume assembles case studies reflecting upon these questions and more from across all areas of avant-garde and modernist activity, including visual art, literature, music, architecture, photography, theatre, performance, curatorial practice, fashion and design.
Illuminates unexplored dimensions of the music-literature relationship and the sometimes unrecognized talents of certain famous writers and composers. This book deals with three aspects that have been neglected in the burgeoning field of music and literature. The "First Movement" of the book considers writers from German Romanticism to the present who, like Robert Schumann, first saw themselves as writers before they turned to composition, or, like E. T. A. Hoffmann and Anthony Burgess, sought careers in music before becoming writers. It also considers the few operatic composers, such as Richard Wagner and Arnold Schoenberg, who wrote their own libretti. The "Second Movement" turns to literary works based specifically on musical compositions. This group includes, first and more generally, prose works whose author chose a specificmusical form such as sonata or fugue as an organizational model. And second, it includes novels based structurally or thematically on specific compositions, such as Bach's Goldberg Variations. The "Finale" concludes with aunique case: efforts by modern composers to render musically the compositions described in detail by Thomas Mann in his novel Doktor Faustus. This book, which addresses itself to readers interested generally in music and literature and is written in a reader-friendly style, draws attention to unexplored dimensions of the music-literature relationship and to the sometimes unrecognized talents of certain writers and composers. Theodore Ziolkowski is Professor Emeritus of German and Comparative Literature, Princeton University.
How have men used art music? How have they listened to and brandished the musical forms of the Western classical tradition and how has music intervened in their identity formations? This collection of essays addresses these questions by examining some of the ways in which men, music and masculinity have been implicated with each other since the Middle Ages. Feminist musicologies have already dealt extensively with music and gender, from the 'phallocentric' tendencies of the Western tradition, to the explicit marginalization of women from that tradition. This book builds on that work by turning feminist critical approaches towards the production, rhetorical engagement and subversion of masculinities in twelve different musical case studies. In other disciplines within the arts and humanities, 'men's studies' is a well-established field. Musicology has only recently begun to address critically music's engagement with masculinity and as a result has sometimes thereby failed to recognize its own discursive misogyny. This book does not seek to cover the field comprehensively but, rather, to explore in detail some of the ways in which musical practices do the cultural work of masculinity. The book is structured into three thematic sections: effeminate and virile musics and masculinities; national masculinities, national musics; and identities, voices, discourses. Within these themes, the book ranges across a number of specific topics: late medieval masculinities; early modern discourses of music, masculinity and medicine; Renaissance Italian masculinities; eighteenth-, nineteenth- and early twentieth-century ideas of creativity, gender and canonicity; masculinity, imperialist and nationalist ideologies in the nineteenth century, and constructions of the masculine voice in late nineteenth- and twentieth-century opera and song. While the case studies are methodologically disparate and located in different historical and geographical locations, they all share a common conc
Can music be political? Germans have long claimed the symphony as a pillar of their modern national culture. By 1900, the critical discourse on music, particularly symphonies, rose to such prominence as to command front-page news. With the embrace of the Great War, the humiliation of defeat, and the ensuing economic turmoil, music evolved from the most abstract to the most political of the arts. Even Goebbels saw the symphony as a tool of propaganda. More than composers or musicians, critics were responsible for this politicization of music, aspiring to change how music was heard and understood. Once hailed as a source of individual heroism, the symphony came to serve a communal vision. Karen Painter examines the politicization of musical listening in Germany and Austria, showing how nationalism, anti-Semitism, liberalism, and socialism profoundly affected the experience of serious music. Her analysis draws on a vast collection of writings on the symphony, particularly those of Mahler and Bruckner, to offer compelling evidence that music can and did serve ideological ends. She traces changes in critical discourse that reflected but also contributed to the historical conditions of the fin de siecle, World War I, and the Nazi regime.
Investigates how other types of music have influenced the scope of the song cycle, from operas and symphonies to popular song --