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Max Erwin – författare

Visar alla böcker från författaren Max Erwin. Handla med fri frakt och snabb leverans.

4 produkter

  1. Max Erwin - Herbert Eimert and the Darmstadt School, Häftad. Tillgänglighet: Lägg i varukorg

    Herbert Eimert and the Darmstadt School

    The Consolidation of the Avant-Garde

    Av Max Erwin

    Häftad, 2020

    311 kr

    Lägg i varukorg

    After 1951, the discourse surrounding both the Darmstadt courses in particular and European New Music more broadly shifted away from a dodecaphonic vocabulary in favour of concepts such as 'punctual music', 'post-Webern music', and 'static music', all collected under the newly-christened unity of …

  2. Max Erwin - Herbert Eimert and the Darmstadt School, E-bok. Tillgänglighet: Lägg i varukorg

    Herbert Eimert and the Darmstadt School

    The Consolidation of the Avant-Garde

    Av Max Erwin

    E-bok, 2020

    296 kr

    Lägg i varukorg

    After 1951, the discourse surrounding both the Darmstadt courses in particular and European New Music more broadly shifted away from a dodecaphonic vocabulary in favour of concepts such as ''punctual music'', ''post-Webern music'', and ''static music'', all collected under the newly-christened …

  3. Max Erwin - Herbert Eimert and the Darmstadt School, E-bok. Tillgänglighet: Lägg i varukorg

    Herbert Eimert and the Darmstadt School

    The Consolidation of the Avant-Garde

    Av Max Erwin

    E-bok, 2020

    296 kr

    Lägg i varukorg

    After 1951, the discourse surrounding both the Darmstadt courses in particular and European New Music more broadly shifted away from a dodecaphonic vocabulary in favour of concepts such as ''punctual music'', ''post-Webern music'', and ''static music'', all collected under the newly-christened …

  4. Max Erwin - Opera, Community, and the Avant-Garde in Germany, 1932–1944, Inbunden. Tillgänglighet: Kommande

    Opera, Community, and the Avant-Garde in Germany, 1932–1944

    Av Max Erwin

    Inbunden, 2027

    1504 kr

    Kommande

    Musicians and cultural institutions in Nazi Germany saw opera as a means of eliminating the division between bourgeois art and everyday life in service of fostering a national Volksgemeinschaft (people’s community). In pursuit of this political project, they turned to aesthetic strategies pioneered …