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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.
These essays - written by specialists of different periods and various disciplines - reveal that the division between nature and art has been continually challenged and reassesed in Western thought. Nature and art, the essays suggest, are mutually constructed, defining and redifining themselves.
Erik Satie (1866-1925) came of age in the bohemian subculture of Montmartre, with its artists' cabarets and cafés-concerts. Yet apologists have all too often downplayed this background as potentially harmful to the reputation of a composer whom they regarded as the progenitor of modern French music. Whiting argues, on the contrary, that Satie's two decades in and around Montmartre decisively shaped his aesthetic priorities and compositional strategies. He gives the fullest account to date of Satie's professional activities as a popular musician, and of how he transferred the parodic techniques and musical idioms of cabaret entertainment to works for concert hall. From the esoteric Gymnopédies to the bizarre suites of the 1910s and avant-garde ballets of the 1920s (not to mention music journalism and playwriting), Satie's output may be daunting in its sheer diversity and heterodoxy; but his radical transvaluation of received artistic values makes far better sense once placed in the fascinating context of bohemian Montmartre.
This is the largest selection, in any language, of the writings of Erik Satie. Although he was dismissed as an eccentric by many, Satie has come to be seen as a key influence on modern music. The appeal of his writings, however, go far beyond their musical value. He is revealed as one of the most beguiling of absurdists, in the mode of Lewis Carroll or Edward Lear, but with a strong streak of Dadaism (a movement with which he collaborated).
This book gathers the commentary of people who knew the painter Paul Cezanne, especially in his later years. Now seen as one of the most influential of modern painters, in his 40s he returned to his village of Aix-en-Provence where, he worked in near obscurity and with great dedication until his death in 1906.
Harries introduces the stories written by 17th century French women, or conteuses, female storytellers. Their stories omitted from the traditional, largely male-authored, fairy tale "canon."
Arab Patriotism presents the essential backstory to the formation of the modern nation-state and mass nationalism in the Middle East. While standard histories claim that the roots of Arab nationalism emerged in opposition to the Ottoman milieu, Adam Mestyan points to the patriotic sentiment that grew in the Egyptian province of the Ottoman Empire during the nineteenth century, arguing that it served as a pivotal way station on the path to the birth of Arab nationhood. Through extensive archival research, Mestyan examines the collusion of various Ottoman elites in creating this nascent sense of national belonging and finds that learned culture played a central role in this development. Mestyan investigates the experience of community during this period, engendered through participation in public rituals and being part of a theater audience. He describes the embodied and textual ways these experiences were produced through urban spaces, poetry, performances, and journals. From the Khedivial Opera House's staging of Verdi's Aida and the first Arabic magazine to the 'Urabi revolution and the restoration of the authority of Ottoman viceroys under British occupation, Mestyan illuminates the cultural dynamics of a regime that served as the precondition for nation-building in the Middle East. --
This is the first book-length study of the rich operatic repertory written and performed in France during the last two decades of the nineteenth century. Steven Huebner gives an accessible and colorful account of such operatic favorites as Manon and Werther by Massenet, Louise by Charpentier, and lesser-known gems such as Chabrier's Le Roi malgré lui and Chausson's Le Roi Arthus.
An examination of the female opera singer during the nineteenth and twentieth centuries.
Provocative and timely, Disciplining Music confronts a topic that has sparked considerable debate in recent years: how do musicians and music scholars "discipline" music in their efforts to confer order and meaning on it? This collection of essays addresses this issue by formulating questions about music's canons—rules that measure and order, negotiate cultural constraints, reconstruct the past, and shape the future. Written by scholars representing the fields of historical musicology, ethnomusicology, and music theory, many of the essays tug and push at the very boundaries of these traditional division within the study of music. "Fortunately, in a blaze of good-humored . . . scholarship, [this] book helps brains unaccustomed to thinking about the future without jeopardizing the past imagine the wonder classical-music life might become if it embraced all people and all musics."—Laurence Vittes, Los Angeles Reader "These essays will force us to rethink our position on many issues. . . [and] advance musicology into the twenty-first century."—Giulio Ongaro, American Music Teacher With essays by Katherine Bergeron, Philip V. Bohlman, Richard Cohn and Douglas Dempster, Philip Gossett, Robert P. Morgan, Bruno Nettl, Don Michael Randel, Ruth A. Solie, and Gary Tomlinson.