Interdisciplinary study, perennially championed, is difficult to perform. A rare case of a sustained effort to straddle disciplines, to work between music and art theory through historical example, is examined in this essay. The focus is a lecture delivered in October 1930 in Hamburg at the Fourth C...

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Bibliographische Detailangaben

1. Verfasser:	Sears, Elizabeth 1952- (VerfasserIn)
Format:	Elektronisch Artikel
Sprache:	English
Veröffentlicht:	2024
Schlagworte:	Riezler, Walter > 1878-1965 Musik Moderne Kunst Ästhetik
Online-Zugang:	DE-255
Zusammenfassung:	Interdisciplinary study, perennially championed, is difficult to perform. A rare case of a sustained effort to straddle disciplines, to work between music and art theory through historical example, is examined in this essay. The focus is a lecture delivered in October 1930 in Hamburg at the Fourth Congress for Aesthetics and General Art Theory, a congress aiming to encourage disciplinary cross-fertilization. The speaker in question, Walter Riezler, is a fascinating figure. Embedded in interwar culture, he had received a dual training in musicology and art history and was thus equally familiar with the scholarly analyses of, say, Schenker and Panofsky. In his talk, "The New Sense of Space in Visual Art and Music," Riezler argued that in the most significant creative work in art and music since about 1900, the long dominant perspectival and tonal systems, which he aligned, had given way to something new, an alternative sense of space that marked epochal change. This offered him a means to defend modernism by analyzing the works of selected (now classic) contemporaries of the Weimar era—whether Lyonel Feininger, Ludwig Mies van der Rohe, or Paul Hindemith. A biographical account of Riezler precedes a detailed analysis of the little-known text.
Beschreibung:	Illustrationen
ISBN:	978-1-003-35779-7