The quilting points of musical modernism :: revolution, reaction, and William Walton /
Modernism is both a contested aesthetic category and a powerful political statement. Modernist music was condemned as degenerate by the Nazis and forcibly replaced by socialist realism under the Soviets. Sympathetic philosophers and critics have interpreted it as a vital intellectual defence against...
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Cambridge ; New York :
Cambridge University Press,
2012.
|
| Schriftenreihe: | Music in context.
|
| Schlagworte: | |
| Online-Zugang: | Volltext |
| Zusammenfassung: | Modernism is both a contested aesthetic category and a powerful political statement. Modernist music was condemned as degenerate by the Nazis and forcibly replaced by socialist realism under the Soviets. Sympathetic philosophers and critics have interpreted it as a vital intellectual defence against totalitarianism, yet some American critics consider it elitist, undemocratic, and even unnatural. Drawing extensively on the philosophy of Heidegger and Badiou, Quilting Points proposes a new dialectical theory of faithful, reactive, and obscure subjective responses to musical modernism, which embraces all the music of Western modernity. |
| Beschreibung: | 1 online resource (xxii, 277 pages) : illustrations, music |
| Bibliographie: | Includes bibliographical references and index. |
| ISBN: | 9781139549080 1139549081 1139023896 9781139023894 1283716208 9781283716208 9781139551588 1139551582 9781139554046 1139554042 |
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| 245 | 1 | 4 | |a The quilting points of musical modernism : |b revolution, reaction, and William Walton / |c J.P.E. Harper-Scott. |
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| 520 | |a Modernism is both a contested aesthetic category and a powerful political statement. Modernist music was condemned as degenerate by the Nazis and forcibly replaced by socialist realism under the Soviets. Sympathetic philosophers and critics have interpreted it as a vital intellectual defence against totalitarianism, yet some American critics consider it elitist, undemocratic, and even unnatural. Drawing extensively on the philosophy of Heidegger and Badiou, Quilting Points proposes a new dialectical theory of faithful, reactive, and obscure subjective responses to musical modernism, which embraces all the music of Western modernity. | ||
| 504 | |a Includes bibliographical references and index. | ||
| 588 | 0 | |a Print version record. | |
| 505 | 0 | |a Cover; The Quilting Points of Musical Modernism; Series editors; Title; Copyright; Dedication; Contents; Illustrations; Preface; The structure of the book; On communism and musicology; Acknowledgements; PART I A ruthless criticism of everything existing; 1 Modernism as we know it, ideology, and the quilting point; 1.1 Taruskin's erasure of modernism; 1.2 The xenophobic-capitalist quilting point; 1.3 Traversing the ideological; 1.4 Quilted history 1: maximalization as minimalization; 1.5 Quilted history 2: the triumph of American capitalism; 1.6 Technical definitions of modernism. | |
| 505 | 8 | |a 1.7 Presence and presencingPART II Relationship problems; 2 Modernism, love, and truth; 2.1 Troilus, Cressida, and takeaway sex; 2.2 Coke and sex; 2.3 Love as supplement/excess; 2.4 Ideology, the count, and the void; 2.5 Three theses of sexed positions: segregative, humanistic, and Aristophanean; 2.6 Wagnerian music drama and the excision of u; 2.7 The two movements of love; 2.8 Creating subjects: men, women, and Schoenberg; 2.9 Schenker, Eroica, and the emancipation of dissonance; 2.10 Forcing: serialism as veridical in the situation 'to come'; 3 The love of Troilus and Cressida. | |
| 505 | 8 | |a 3.1 The plot3.2 The politics of pornography; 3.3 Sacred and profane; 3.4 Whatever; 3.5 'Newfangelnesse'; 3.6 Cressida's barred subjectivity; 3.7 Psychoanalytic objects; 3.8 Tristanesque objects of desire; 3.9 Gendering Cressida and Troilus; 3.10 Resisting interpellation; 3.11 Betrayal is love; PART III The revolutionary kernel of reactionary music; 4 Communist modernism; 4.1 Walton in the sequences of communism; 4.2 Walton's 'modernism'; 4.3 Truths, bodies, and traces; 4.4 Faithful subjects; 4.5 Reactive subjects; 4.6 Obscure subjects; 4.7 Resurrection; 4.8 Why emancipation of dissonance? | |
| 505 | 8 | |a 5.10 The motion from the faithful to the reactive subjectAfterword: what to do?; Bibliography; Index. | |
| 600 | 1 | 7 | |a Walton, William |c Sir |d 1902-1983 |2 gnd |
| 650 | 0 | |a Music |y 20th century |x Philosophy and aesthetics. | |
| 650 | 0 | |a Modernism (Music) |0 http://id.loc.gov/authorities/subjects/sh2004014988 | |
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| author | Harper-Scott, J. P. E. (John Paul Edward), 1977- |
| author_facet | Harper-Scott, J. P. E. (John Paul Edward), 1977- |
| author_role | |
| author_sort | Harper-Scott, J. P. E. 1977- |
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| callnumber-search | ML3845 .H325 2012eb |
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| collection | ZDB-4-EBA |
| contents | Cover; The Quilting Points of Musical Modernism; Series editors; Title; Copyright; Dedication; Contents; Illustrations; Preface; The structure of the book; On communism and musicology; Acknowledgements; PART I A ruthless criticism of everything existing; 1 Modernism as we know it, ideology, and the quilting point; 1.1 Taruskin's erasure of modernism; 1.2 The xenophobic-capitalist quilting point; 1.3 Traversing the ideological; 1.4 Quilted history 1: maximalization as minimalization; 1.5 Quilted history 2: the triumph of American capitalism; 1.6 Technical definitions of modernism. 1.7 Presence and presencingPART II Relationship problems; 2 Modernism, love, and truth; 2.1 Troilus, Cressida, and takeaway sex; 2.2 Coke and sex; 2.3 Love as supplement/excess; 2.4 Ideology, the count, and the void; 2.5 Three theses of sexed positions: segregative, humanistic, and Aristophanean; 2.6 Wagnerian music drama and the excision of u; 2.7 The two movements of love; 2.8 Creating subjects: men, women, and Schoenberg; 2.9 Schenker, Eroica, and the emancipation of dissonance; 2.10 Forcing: serialism as veridical in the situation 'to come'; 3 The love of Troilus and Cressida. 3.1 The plot3.2 The politics of pornography; 3.3 Sacred and profane; 3.4 Whatever; 3.5 'Newfangelnesse'; 3.6 Cressida's barred subjectivity; 3.7 Psychoanalytic objects; 3.8 Tristanesque objects of desire; 3.9 Gendering Cressida and Troilus; 3.10 Resisting interpellation; 3.11 Betrayal is love; PART III The revolutionary kernel of reactionary music; 4 Communist modernism; 4.1 Walton in the sequences of communism; 4.2 Walton's 'modernism'; 4.3 Truths, bodies, and traces; 4.4 Faithful subjects; 4.5 Reactive subjects; 4.6 Obscure subjects; 4.7 Resurrection; 4.8 Why emancipation of dissonance? 5.10 The motion from the faithful to the reactive subjectAfterword: what to do?; Bibliography; Index. |
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| dewey-search | 780.9/04 |
| dewey-sort | 3780.9 14 |
| dewey-tens | 780 - Music |
| discipline | Musikwissenschaft |
| era | 1900-1999 fast |
| era_facet | 1900-1999 |
| format | Electronic eBook |
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| id | ZDB-4-EBA-ocn813843958 |
| illustrated | Illustrated |
| indexdate | 2024-11-27T13:25:00Z |
| institution | BVB |
| isbn | 9781139549080 1139549081 1139023896 9781139023894 1283716208 9781283716208 9781139551588 1139551582 9781139554046 1139554042 |
| language | English |
| oclc_num | 813843958 |
| open_access_boolean | |
| owner | MAIN DE-863 DE-BY-FWS |
| owner_facet | MAIN DE-863 DE-BY-FWS |
| physical | 1 online resource (xxii, 277 pages) : illustrations, music |
| psigel | ZDB-4-EBA |
| publishDate | 2012 |
| publishDateSearch | 2012 |
| publishDateSort | 2012 |
| publisher | Cambridge University Press, |
| record_format | marc |
| series | Music in context. |
| series2 | Music in context |
| spelling | Harper-Scott, J. P. E. (John Paul Edward), 1977- https://id.oclc.org/worldcat/entity/E39PBJgd4yrt4X9KY7bmHXQ8YP The quilting points of musical modernism : revolution, reaction, and William Walton / J.P.E. Harper-Scott. Cambridge ; New York : Cambridge University Press, 2012. 1 online resource (xxii, 277 pages) : illustrations, music text txt rdacontent computer c rdamedia online resource cr rdacarrier Music in context Modernism is both a contested aesthetic category and a powerful political statement. Modernist music was condemned as degenerate by the Nazis and forcibly replaced by socialist realism under the Soviets. Sympathetic philosophers and critics have interpreted it as a vital intellectual defence against totalitarianism, yet some American critics consider it elitist, undemocratic, and even unnatural. Drawing extensively on the philosophy of Heidegger and Badiou, Quilting Points proposes a new dialectical theory of faithful, reactive, and obscure subjective responses to musical modernism, which embraces all the music of Western modernity. Includes bibliographical references and index. Print version record. Cover; The Quilting Points of Musical Modernism; Series editors; Title; Copyright; Dedication; Contents; Illustrations; Preface; The structure of the book; On communism and musicology; Acknowledgements; PART I A ruthless criticism of everything existing; 1 Modernism as we know it, ideology, and the quilting point; 1.1 Taruskin's erasure of modernism; 1.2 The xenophobic-capitalist quilting point; 1.3 Traversing the ideological; 1.4 Quilted history 1: maximalization as minimalization; 1.5 Quilted history 2: the triumph of American capitalism; 1.6 Technical definitions of modernism. 1.7 Presence and presencingPART II Relationship problems; 2 Modernism, love, and truth; 2.1 Troilus, Cressida, and takeaway sex; 2.2 Coke and sex; 2.3 Love as supplement/excess; 2.4 Ideology, the count, and the void; 2.5 Three theses of sexed positions: segregative, humanistic, and Aristophanean; 2.6 Wagnerian music drama and the excision of u; 2.7 The two movements of love; 2.8 Creating subjects: men, women, and Schoenberg; 2.9 Schenker, Eroica, and the emancipation of dissonance; 2.10 Forcing: serialism as veridical in the situation 'to come'; 3 The love of Troilus and Cressida. 3.1 The plot3.2 The politics of pornography; 3.3 Sacred and profane; 3.4 Whatever; 3.5 'Newfangelnesse'; 3.6 Cressida's barred subjectivity; 3.7 Psychoanalytic objects; 3.8 Tristanesque objects of desire; 3.9 Gendering Cressida and Troilus; 3.10 Resisting interpellation; 3.11 Betrayal is love; PART III The revolutionary kernel of reactionary music; 4 Communist modernism; 4.1 Walton in the sequences of communism; 4.2 Walton's 'modernism'; 4.3 Truths, bodies, and traces; 4.4 Faithful subjects; 4.5 Reactive subjects; 4.6 Obscure subjects; 4.7 Resurrection; 4.8 Why emancipation of dissonance? 5.10 The motion from the faithful to the reactive subjectAfterword: what to do?; Bibliography; Index. Walton, William Sir 1902-1983 gnd Music 20th century Philosophy and aesthetics. Modernism (Music) http://id.loc.gov/authorities/subjects/sh2004014988 Musique 20e siècle Philosophie et esthétique. Modernisme (Musique) MUSIC History & Criticism. bisacsh Modernism (Music) fast Music Philosophy and aesthetics fast Neue Musik gnd Politik gnd http://d-nb.info/gnd/4046514-7 1900-1999 fast has work: The quilting points of musical modernism (Text) https://id.oclc.org/worldcat/entity/E39PCG4PBdt3VPVm3YWvh3pkWC https://id.oclc.org/worldcat/ontology/hasWork Print version: Harper-Scott, J.P.E. (John Paul Edward), 1977- Quilting points of musical modernism. Cambridge ; New York : Cambridge University Press, 2012 9780521765213 (DLC) 2012015415 (OCoLC)789149856 Music in context. http://id.loc.gov/authorities/names/no2012101704 FWS01 ZDB-4-EBA FWS_PDA_EBA https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=473199 Volltext |
| spellingShingle | Harper-Scott, J. P. E. (John Paul Edward), 1977- The quilting points of musical modernism : revolution, reaction, and William Walton / Music in context. Cover; The Quilting Points of Musical Modernism; Series editors; Title; Copyright; Dedication; Contents; Illustrations; Preface; The structure of the book; On communism and musicology; Acknowledgements; PART I A ruthless criticism of everything existing; 1 Modernism as we know it, ideology, and the quilting point; 1.1 Taruskin's erasure of modernism; 1.2 The xenophobic-capitalist quilting point; 1.3 Traversing the ideological; 1.4 Quilted history 1: maximalization as minimalization; 1.5 Quilted history 2: the triumph of American capitalism; 1.6 Technical definitions of modernism. 1.7 Presence and presencingPART II Relationship problems; 2 Modernism, love, and truth; 2.1 Troilus, Cressida, and takeaway sex; 2.2 Coke and sex; 2.3 Love as supplement/excess; 2.4 Ideology, the count, and the void; 2.5 Three theses of sexed positions: segregative, humanistic, and Aristophanean; 2.6 Wagnerian music drama and the excision of u; 2.7 The two movements of love; 2.8 Creating subjects: men, women, and Schoenberg; 2.9 Schenker, Eroica, and the emancipation of dissonance; 2.10 Forcing: serialism as veridical in the situation 'to come'; 3 The love of Troilus and Cressida. 3.1 The plot3.2 The politics of pornography; 3.3 Sacred and profane; 3.4 Whatever; 3.5 'Newfangelnesse'; 3.6 Cressida's barred subjectivity; 3.7 Psychoanalytic objects; 3.8 Tristanesque objects of desire; 3.9 Gendering Cressida and Troilus; 3.10 Resisting interpellation; 3.11 Betrayal is love; PART III The revolutionary kernel of reactionary music; 4 Communist modernism; 4.1 Walton in the sequences of communism; 4.2 Walton's 'modernism'; 4.3 Truths, bodies, and traces; 4.4 Faithful subjects; 4.5 Reactive subjects; 4.6 Obscure subjects; 4.7 Resurrection; 4.8 Why emancipation of dissonance? 5.10 The motion from the faithful to the reactive subjectAfterword: what to do?; Bibliography; Index. Walton, William Sir 1902-1983 gnd Music 20th century Philosophy and aesthetics. Modernism (Music) http://id.loc.gov/authorities/subjects/sh2004014988 Musique 20e siècle Philosophie et esthétique. Modernisme (Musique) MUSIC History & Criticism. bisacsh Modernism (Music) fast Music Philosophy and aesthetics fast Neue Musik gnd Politik gnd http://d-nb.info/gnd/4046514-7 |
| subject_GND | http://id.loc.gov/authorities/subjects/sh2004014988 http://d-nb.info/gnd/4046514-7 |
| title | The quilting points of musical modernism : revolution, reaction, and William Walton / |
| title_auth | The quilting points of musical modernism : revolution, reaction, and William Walton / |
| title_exact_search | The quilting points of musical modernism : revolution, reaction, and William Walton / |
| title_full | The quilting points of musical modernism : revolution, reaction, and William Walton / J.P.E. Harper-Scott. |
| title_fullStr | The quilting points of musical modernism : revolution, reaction, and William Walton / J.P.E. Harper-Scott. |
| title_full_unstemmed | The quilting points of musical modernism : revolution, reaction, and William Walton / J.P.E. Harper-Scott. |
| title_short | The quilting points of musical modernism : |
| title_sort | quilting points of musical modernism revolution reaction and william walton |
| title_sub | revolution, reaction, and William Walton / |
| topic | Walton, William Sir 1902-1983 gnd Music 20th century Philosophy and aesthetics. Modernism (Music) http://id.loc.gov/authorities/subjects/sh2004014988 Musique 20e siècle Philosophie et esthétique. Modernisme (Musique) MUSIC History & Criticism. bisacsh Modernism (Music) fast Music Philosophy and aesthetics fast Neue Musik gnd Politik gnd http://d-nb.info/gnd/4046514-7 |
| topic_facet | Walton, William Sir 1902-1983 Music 20th century Philosophy and aesthetics. Modernism (Music) Musique 20e siècle Philosophie et esthétique. Modernisme (Musique) MUSIC History & Criticism. Music Philosophy and aesthetics Neue Musik Politik |
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