Download Edward Elgar: Modernist (Music in the Twentieth Century) by J. P. E. Harper-Scott PDF

By J. P. E. Harper-Scott

The 1st full-length analytical examine of Edward Elgar's track, this ebook argues that Elgar was once a modernist composer, and that his song constitutes a pessimistic twentieth-century evaluation of the character of man or woman. targeting Elgar's song instead of his lifestyles, Harper-Scott blends the hermeneutic and existential philosophy of Martin Heidegger with music-analytical equipment derived from Heinrich Schenker and James Hepokoski. during enticing with debates focused on duotonality in musical constructions, sonata deformations, which means in track, the character of tragedy, and the hunt narrative, the e-book rejects poststructuralist and literary-theoretical interpretations of song, notably translates Schenkerian concept, and tentatively outlines a brand new area - a Heideggerian 'clearing' - within which tune of all classes could be understood to function, be skilled and be understood. The booklet encompasses a specific word list which gives the reader with transparent definitions of vital and tough phrases.

Show description

Read Online or Download Edward Elgar: Modernist (Music in the Twentieth Century) PDF

Best music books

Pavement's Wowee Zowee (33 1/3 Series)

Pavement wrapped up at Easley Recording in Memphis. They combined the tracks and recorded overdubs in manhattan. They took a step again and assessed the fabric. It was once a wild scene. they'd absolutely fleshed-out songs and whispers and rumors of half-formed ones. they'd songs that a hard-to-gauge inner good judgment.

Beyond A Love Supreme: John Coltrane and the Legacy of an Album

Recorded by way of his quartet in one consultation in 1964, A Love very best is greatly thought of John Coltrane's magnum opus and one of many maximum jazz albums of all time.

In past A Love ideal, Tony Whyton explores either the musical complexities of A Love splendid and the album's seminal significance in jazz heritage. Marking Coltrane's transition from the bebop and tough bop of his past recordings to the loose jazz variety perfected during the remainder of his profession, the album additionally embodies the deep spirituality that characterised the ultimate years of his existence. The titles of the 4 half suite--"Acknowledgment," "Resolution," "Pursuance," and "Psalm"--along with the poem Coltrane composed for inclusion within the liner notes, which he "recites" instrumentally in "Psalm," mirror the non secular element of the album, a high quality that contributes to its mystique and symbolic significance in the canon of significant jazz recordings. yet Whyton additionally exhibits how A Love perfect demanding situations the various conventional, unreflective assumptions that permeate jazz culture--the binary oppositions among improvisation and composition, black tune and white track, concert and studio recording. He seriously examines a few of the mythologizing narratives approximately how the album was once conceived and recorded and approximately what it indicates by way of the trajectory of Coltrane's own lifestyles. Sifting during the feedback of overdue Coltrane, Whyton indicates methods of hearing those recordings that transcend the traditional ideologies of mainstream jazz perform and open the song to a much broader variety of responses.

full of clean insights into the most influential recordings in jazz historical past, past A Love preferrred is an essential source for jazz students, jazz musicians, and enthusiasts and aficionados in any respect degrees.

Before Elvis: The Prehistory of Rock 'n' Roll

A vital paintings for rock fanatics and students, earlier than Elvis: The Prehistory of Rock 'n' Roll surveys the origins of rock 'n' roll from the minstrel period to the emergence of invoice Haley and Elvis Presley. in contrast to different histories of rock, prior to Elvis deals a miles broader and deeper research of the impacts on rock track.

The Royal Opera House in the Twentieth Century (Bloomsbury Reader)

The Royal Opera residence, Covent backyard is domestic of 2 of the main recognized opera and ballet businesses on the earth. during this legitimate background, Frances Donaldson discusses Covent Garden's many mythical achievements - Der Rosenkavalier with Lotte Lehmann, the unheard of partnership of Fonteyn and Nureyev, the hot Otello with Domingo.

Extra info for Edward Elgar: Modernist (Music in the Twentieth Century)

Sample text

Pp. 340–1. 32 Edward Elgar, Modernist script such that it is ‘authentic’ to him- or herself, even if not strictly ‘authentic’ to the intention of the ‘composer’. The ‘composer’ may provide a script for being, say, a chartered accountant; the ‘performer’ may choose to interpret that script in a surprising and ‘authentic’ (-to-self) way, perhaps by becoming a chartered accountant who manages the finances of rock bands. That is the main Heideggerian meaning of ‘authenticity’ in rough outline. Richer nuances will be drawn out in the discussion of the Augenblick in the next section and in Chapter 6.

Elgar’s diatonicism, often remarked upon, is still not fully understood. In none of his stylistic phases is it ever merely fogeyish musical atavism or an extension of his ‘popular’ style, although both play their part. In fact in certain cases it is a pungent twentieth-century mode of musical cynicism. Elgar’s language is diatonic in an essentially chromatic post-Wagnerian ‘language game’, as Wittgenstein might have called it; and although there may be quantitatively more of the diatonic, ‘Nimrod’-style writing in Elgar’s oeuvre than the complex chromaticism of the First Symphony’s exposition, nevertheless this more involved style is the basic one: one might 41 42 43 Dahlhaus, ‘Aesthetics’, in John Deathridge and Carl Dahlhaus, The New Grove Wagner (London: Macmillan, 1984), p.

Elgar’s last modernist work, FalstaV, was premiered in 1913, the same year as Gurrelieder, and its reception was as cool as Schoenberg’s was warm. In retrospect we can identify an ominous augury: the public was abandoning the echt-Edwardian composer. It was a crucial period in musical history, and its significance for the generation of early modernists born around 1860 (which includes Elgar) is nicely encapsulated by James Hepokoski: the premiere in Dresden of Strauss’s Der Rosenkavalier on 26 January 1911 and the death of Gustav Mahler on 18 May 1911 .

Download PDF sample

Rated 4.99 of 5 – based on 36 votes