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Cozarinsky's La guerre d'un seul homme and musical categories : (Re)-framing Pfitzner, Strauss, Schreker, and Schoenberg cinematically

Binns, Alexander

Authors



Contributors

Nicholas Attfield
Editor

Ben Winters
Editor

Abstract

The framing of music, especially that of the late nineteenth and early twentieth centuries, is bound up not only with the effects of the two World Wars that (dis)figured the period but also with the discourse on musical value and identity within which that music’s reception was cast. When that reception is also associated with the political turbulence of the first part of the twentieth century and its aesthetic and political aftermath, it becomes yet more noteworthy as a testament to how musical reception is a powerfully engaging tool, whose historical effect can be long lived. The ‘wrecking’ of some composers and the ‘elevation’ of others—either as Aryan or ‘advanced’ modernist, as populist or old-fashioned—is a familiar story.

Citation

Binns, A. (2018). Cozarinsky's La guerre d'un seul homme and musical categories : (Re)-framing Pfitzner, Strauss, Schreker, and Schoenberg cinematically. In N. Attfield, & B. Winters (Eds.), Music, Modern Culture, and the Critical EarTaylor & Francis (Routledge)

Online Publication Date Nov 20, 2017
Publication Date 2018
Deposit Date Nov 10, 2016
Publicly Available Date May 21, 2019
Journal Music, modern culture, and the critical ear
Publisher Taylor & Francis (Routledge)
Peer Reviewed Not Peer Reviewed
Book Title Music, Modern Culture, and the Critical Ear
Chapter Number 8
ISBN 9781472476869
Keywords Late-romanticism, La guerre d'un seul homme, Cozarinsky, Edgardo
Public URL https://hull-repository.worktribe.com/output/445017
Publisher URL https://www.routledge.com/Music-Modern-Culture-and-the-Critical-Ear/Attfield-Winters/p/book/9781472476869

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