| Description |
1 online resource (xxii, 277 pages) : illustrations, music. |
| Physical Medium |
polychrome |
| Description |
text file |
| Series |
Music in context
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Music in context.
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| Summary |
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. |
| Bibliography |
Includes bibliographical references and index. |
| 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. |
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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. |
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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? |
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5.10 The motion from the faithful to the reactive subjectAfterword: what to do?; Bibliography; Index. |
| Local Note |
eBooks on EBSCOhost EBSCO eBook Subscription Academic Collection - North America |
| Subject |
Music -- 20th century -- Philosophy and aesthetics.
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Music. |
| Chronological Term |
20th century |
| Subject |
Modernism (Music)
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Modernism (Music) |
| Chronological Term |
1900-1999 |
| Genre/Form |
Electronic books.
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| Other Form: |
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 |
| ISBN |
9781139549080 (electronic book) |
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1139549081 (electronic book) |
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1139023896 (electronic book) |
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9781139023894 (electronic book) |
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1283716208 |
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9781283716208 |
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9781139551588 |
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1139551582 |
|
9780521765213 |
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0521765218 |
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