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This title was first published in 2001. The last century has witnessed the ascendancy of the avant-garde in music. From Schoenberg to Boulez to Stockhausen, the avant-garde has defined the modern conception of musical creativity. Contemporary serious music demands the "new" in terms of style, form and ways of listening and hearing. Implicit in this approach is the rejection of the "old", from the baroque to the music of the later 19th-century symphonists. Paradoxically, however, it is this "old" repertoire which contiues to dominate concert programmes. An exploration of this dichotomy lies at the heart of this book. Drawing on a wealth of European philosophical and musical texts, the author examines the origins of the avant-garde and its relation to modernity in tandem with the history of the tonal tradition.
A classic work on the joy of experiencing architecture, with a new afterword reflecting on architecture’s place in the contemporary moment “Architecture begins to matter,” writes Paul Goldberger, “when it brings delight and sadness and perplexity and awe along with a roof over our heads.” In Why Architecture Matters, he shows us how that works in examples ranging from a small Cape Cod cottage to the vast, flowing Prairie houses of Frank Lloyd Wright, from the Lincoln Memorial to the Guggenheim Bilbao. He eloquently describes the Church of Sant’Ivo in Rome as a work that “embraces the deepest complexities of human imagination.” In his afterword to this new edition, Goldberger addresses the current climate in architectural history and takes a more nuanced look at projects such as Thomas Jefferson’s academical village at the University of Virginia and figures including Philip Johnson, whose controversial status has been the topic of much recent discourse. He argues that the emotional impact of great architecture remains vital, even as he welcomes the shift in the field to an increased emphasis on social justice and sustainability.
Describes the return to a new classical style within art and architecture. Includes 350 illustrations of paintings, sculpture, and architecture.
The triumph of avant-gardes in the 1920s tends to dominate our discussions of the music, art, and literature of the period. But the broader current of modernism encompassed many movements, and one of the most distinct and influential was a turn to classicism. In Classicism of the Twenties, Theodore Ziolkowski offers a compelling account of that movement. Giving equal attention to music, art, and literature, and focusing in particular on the works of Stravinsky, Picasso, and T. S. Eliot, he shows how the turn to classicism manifested itself. In reaction both to the excesses of neoromanticism and early modernism and to the horrors of World War I—and with respectful detachment—artists, writers, and composers adapted themes and forms from the past and tried to imbue their own works with the values of simplicity and order that epitomized earlier classicisms. By identifying elements common to all three arts, and carefully situating classicism within the broader sweep of modernist movements, Ziolkowski presents a refreshingly original view of the cultural life of the 1920s.
The First World War mangled faces, blew away limbs, and ruined nerves. Ten million dead, twenty million severe casualties, and eight million people with permanent disabilities - modern war inflicted pain and suffering with unsparing, mechanical efficiency. However, such horror was not the entire story. People also rebuilt their lives, their communities, and their bodies. From the ashes of war rose beauty, eroticism, and the promise of utopia. Ana Carden-Coyne investigates the cultures of resilience and the institutions of reconstruction in Britain, Australia, and the United States. Immersed in efforts to heal the consequences of violence and triumph over adversity, reconstruction inspired politicians, professionals, and individuals to transform themselves and their societies. Bodies were not to remain locked away as tortured memories. Instead, they became the subjects of outspoken debate, the objects of rehabilitation, and commodities of desire in global industries. Governments, physicians, beauty and body therapists, monument designers and visual artists looked to classicism and modernism as the tools for rebuilding civilization and its citizens. What better response to loss of life, limb, and mind than a body reconstructed?
The work of Walker & Gillette, one of the leading architectural firms of the twentieth century, is documented with an extensive text and over 800 illustrations. These include many unpublished works by the company and by architect Joseph Mordecai Hirschman, whose passion for old world buildings influenced their design. The first half of the twentieth century featured a wide variety of architectural styles, including Classicism, Art Deco, and Modernism, which Walker & Gillette used well. Established in the early twentieth century, this firm would remain active until the 1950s. Over the years, the firm diversified, planning residential country estates, urban mansions, town homes, and apartments. Commercial, corporate, and governmental architecture, Art Deco skyscrapers, and unique commissions are all covered, as are the interiors they created for private yachts, ocean liners, the Playland Amusement Park, and their 1939 New York World's Fair offering. This book has relevance and appeal to architects, artists, historians, and readers who love vibrant American history.
Michel Chion is renowned for his explorations of the significance of frequently overlooked elements of cinema, particularly the role of sound. In this inventive and inviting book, Chion considers how cinema has deployed music. He shows how music and film not only complement but also transform each other. The first section of the book examines film music in historical perspective, and the second section addresses the theoretical implications of the crossover between art forms. Chion discusses a vast variety of films across eras, genres, and continents, embracing all the different genres of music that filmmakers have used to tell their stories. Beginning with live accompaniment of silent films in early movie houses, the book analyzes Al Jolson’s performance in The Jazz Singer, the zither in The Third Man, Godard’s patchwork sound editing, the synthesizer welcoming the flying saucer in Close Encounters of the Third Kind, and the Kinshasa orchestra in Felicité, among many more. Chion considers both original scores and incorporation of preexisting works, including the use and reuse of particular composers across cinematic traditions, the introduction of popular music such as jazz and rock, and directors’ attraction to atonal and dissonant music as well as musique concrète, of which he is a composer. Wide-ranging and original, Music in Cinema offers a welcoming overview for students and general readers as well as refreshingly new and valuable perspectives for film scholars.
Brill’s Companion to the Reception of Classics in International Modernism and the Avant-Garde examines how the writers and artists who lived from roughly the last quarter of the nineteenth century to the middle of the twentieth sought to build a new world from the ashes of one marked by two world wars, global economic depression, the rise of nationalism, and the collapse of empires. By surveying the modernist appropriation of Ancient Greece and Rome, the fourteen chapters in this volume demonstrate how the Classics, as foundational texts of the old order, were nevertheless adapted to suit the stylistic innovation and formal experimentation that characterized modernist and avant-garde literature and art.
In Making Dystopia, distinguished architectural historian James Stevens Curl tells the story of the advent of architectural Modernism in the aftermath of the First World War, its protagonists, and its astonishing, almost global acceptance after 1945. He argues forcefully that the triumph of architectural Modernism in the second half of the twentieth century led to massive destruction, the creation of alien urban landscapes, and a huge waste of resources. Moreover, the coming of Modernism was not an inevitable, seamless evolution, as many have insisted, but a massive, unparalled disruption that demanded a clean slate and the elimination of all ornament, decoration, and choice. Tracing the effects of the Modernist revolution in architecture to the present, Stevens Curl argues that, with each passing year, so-called 'iconic' architecture by supposed 'star' architects has become more and more bizarre, unsettling, and expensive, ignoring established contexts and proving to be stratospherically remote from the aspirations and needs of humanity. In the elite world of contemporary architecture, form increasingly follows finance, and in a society in which the 'haves' have more and more, and the 'have-nots' are ever more marginalized, he warns that contemporary architecture continues to stack up huge potential problems for the future, as housing costs spiral out of control, resources are squandered on architectural bling, and society fractures. This courageous, passionate, deeply researched, and profoundly argued book should be read by everyone concerned with what is around us. Its combative critique of the entire Modernist architectural project and its apologists will be highly controversial to many. But it contains salutary warnings that we ignore at our peril. And it asks awkward questions to which answers are long overdue.
From Introduction - The narrative of recent architecture tells how Post-Modernism, was born to disreputable Modernist parents, left home and took to the road, how he went to Shingle-style and Neo-Corbusian American, how he served in the household of Late-Modernism, and how, after more adventures - such as the short-lived affairs he had with Queen-Anne Revival and Collegiate Gothic - he returned to a Classicism that was to be qualified as Free-style.