Max Erwin – författare
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4 produkter
4 produkter
Häftad, Engelska, 2020
237 kr
Skickas inom 7-10 vardagar
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 the Darmstadt School. This study proposes a genealogy of the Darmstadt School through the institutional influence and writings of Herbert Eimert. It demonstrates that Eimert's understanding of music history - whereby technical procedures are universalised as the acme of historical progress - was adopted as the institutional discourse of New Music in Europe, and remains central to both textbook and critical scholarly accounts which attempt to make sense of the avant-garde after World War II.
E-bok
Engelska, 2020283 kr
Läs direkt efter köp
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 the Darmstadt School. This study proposes a genealogy of the Darmstadt School through the institutional influence and writings of Herbert Eimert. It demonstrates that Eimert''s understanding of music history - whereby technical procedures are universalised as the acme of historical progress - was adopted as the institutional discourse of New Music in Europe, and remains central to both textbook and critical scholarly accounts which attempt to make sense of the avant-garde after World War II.
E-bok
PDF, Engelska, 2020283 kr
Läs direkt efter köp
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 the Darmstadt School. This study proposes a genealogy of the Darmstadt School through the institutional influence and writings of Herbert Eimert. It demonstrates that Eimert''s understanding of music history - whereby technical procedures are universalised as the acme of historical progress - was adopted as the institutional discourse of New Music in Europe, and remains central to both textbook and critical scholarly accounts which attempt to make sense of the avant-garde after World War II.
Inbunden, Engelska, 2026
1 927 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 an organic, racially-delimited Volksgemeinschaft (people’s community). In pursuit of this political project, they turned to aesthetic strategies pioneered by the avant-garde movements of the Weimar Republic. This book traces the development of avant-garde music theatre in the Third Reich through local and national changes in patronage and musical craft, as modernist styles initially proscribed as ‘Bolshevik’, ‘un-German’, or, most notoriously, ‘degenerate’, were gradually co-opted by state and party institutions, particularly the cultural offices of arch-reactionary Alfred Rosenberg. New operas became at once a site of revolutionary communion and lavish propaganda for social policies, from establishing a new German identity through the collective trauma of World War I (Ludwig Maurick, Die Heimfahrt des Jörg Tilman) to the totalizing experience of military mobilization (Marc-André Souchay, Kampfwerk 39) and colonisation of Eastern Europe (Ernst Schliepe, Marienburg).Drawing from aesthetic theory, source studies, unpublished correspondence, as well as new archival sources, Opera, Community, and the Avant-Garde in Germany, 1932–1944 explores how musicians sought to adapt and enact the contradictions of Nazi ideology, rethinking both cultural policy in historical fascism and its implications for the contemporary avant-garde.