TWO CENTURIES IN ONE TWENTIETH CENTURY

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TWO CENTURIES IN ONE,MUSICAL ROMANTICISM AND THE,TWENTIETH CENTURY. Two Centuries in One,Musical Romanticism and the,Twentieth Century. Von der Hochschule f r Musik und Theater Rostock,From the Rostock University of Music and Theatre. zur Erlangung des Grades eines,in fulfillment of the degree of. Doktors der Philosophie Doctor of Philosophy,Dr phil Ph D.
genehmigte Dissertation approved dissertation,Herbert Pauls. Geboren am Born on 30 10 1967,in Saskatchewan Canada. Erstgutachter Main Reader Prof Dr Hartmut M ller,Zweitgutachter External Reader Dr Robin Elliott. University of Toronto, Tag der m ndlichen Pr fung Defense Date 22 10 2013. Tag der Einreichung Date Submitted 24 01 2013,Ausgezeichnet mit dem Pr dikat.
This dissertation was awarded with,magna cum laude. 2014 by Herbert Pauls,Additional typographical amendments made in 2016. Printed by McNally Robinson,Abstract ix,Acknowledgments xi. Introduction 1,Chapter 1 Background to the Problem 24. Historicism and evolutionary progress twentieth century. The academic decline of the dissonance paradigm,Popularity and status Two separate canons.
Compromising composers and interfering dictators,Bumps in the road to emancipation. Progress and the permanent revolution,Chapter 2 Persistent Romanticism and the. Romantic Revival 93, Regressive romanticism after the dissonant revolution. Twentieth century romanticism in an academic context. The Romantic Revival in the late twentieth century. Independent record companies and the Romantic Revival. Two major label projects,Record critics and the Romantic Revival. Chapter 3 Some Problems of Definition 181,Late romantic composers as modernists.
Walter Simmons framework for defining twentieth,century romanticism. Nineteenth century romanticism and the problem of,Unterhaltungsmusik. Kravitt s conundrum Popular romantic composers versus. the idea of romantic alienation,Romanticism as a moving target Problems in the. classification of Debussy Prokofiev and Busoni, Neoromanticism and the revolt against romantic notions of. innovation and originality,Chapter 4 The Contemporaneousness of the Non.
Contemporaneous Die Gleichzeitigkeit,des Ungleichzeitigkeiten 256. The death of romanticism and the passage from the old to. Morgan s time line, Dahlhaus s no man s land The generation gap between. the nineteenth and twentieth centuries, The third way The Schoenberg Stravinsky polarity and. the Immer noch Romantiker,Chapter 5 Romantic Emotion and Melody in the. Modern Era 302,Emotional classicism versus dry Stravinskian.
neoclassicism A loss of context,Cracks in the anti emotional facade. New defenders of old emotion Brazen romanticism in. the twentieth century and the long tradition of The. Last Romantic,Melody as a reminder of old Romanticism. Chapter 6 Twentieth Century Musical Vocabulary,and the linguistic analogy 361. Dead tonality in the twenty first century,New languages or new turns of speech. The rate of change in musical language versus spoken. Common language innovation and intellectual status. Sergei s shadow Slow may be okay after all,Chapter 7 Conclusion 423.
Connoisseur turf or musical fodder for the less discerning. Bibliography 438, A n outstanding feature of twentieth century music has. been the divergence of European art music into two. general areas which do not overlap to the same extent. that they do in previous centuries That is the performing. repertoire is at odds sometimes dramatically so with a competing. canon of works considered to be of greater importance from an. evolutionary historical point of view The practical result has been. what one commentator recently called two centuries in one. Few composers were considered more untimely than those. who persisted in using the old tonal and romantic sounding. idioms However the best of them contributed many core works to. the daily repertoire and we have now arrived at the point where. minor twentieth century romantics are also proving to be of strong. interest particularly for discerning connoisseurs Of comparable. significance the once common progress narrative of musical. evolution which hindered the academic reception of twentieth. century romantic music for so long has been almost completely. abandoned today We have also reached the point where some of. the major romantic figures have been recast as modern or even. With the rise in academic respectability of areas like film. and pop music the use of out dated tonal traditions in twentieth. century music can now be seen in a more positive light If it is now. safe to say that film music and other popular genres were to use a. linguistic analogy conversing in the musical language of their. time one can also reasonably conclude that at the most basic. level the musical language of leading modern romantic composers. of concert music also belonged to its time, The term romantic has been controversial for over two. centuries and for twentieth century music its application becomes. problematic in the extreme However since the word was used so. extensively in the modern era both positively and negatively I. have chosen to embrace it and examine what it has meant to the. classical music world after 1900 I have also offered a few. thoughts on what romanticism s unusually strong presence in the. modern era may signify for future historians not least in how they. define the crucially important idea of modernism itself. Acknowledgements, I t is not possible to complete a doctoral dissertation without. the help of others not least the many colleagues and friends. with whom I have enjoyed stimulating discussions relating to. the different themes found in the book that follows But above all I. would like to take this opportunity to thank my Doktorvater Prof. Dr Hartmut M ller for his unfailing encouragement and guidance. over the last few years I also wish to thank Robin Elliott who. was the first to oversee my ambition to tackle some of the difficult. and often highly contentious issues of twentieth century. historiography during my Masters Degree and at various points. thereafter continued to encourage me to go further. Going back earlier in life my two main piano teachers have. also proved to be a vital impetus in the long journey that. culminated in this study of twentieth century romanticism First I. must remember Helen McMurphy a small town piano teacher in. Northern Saskatchewan Little did she realize what profound effect. Harold C Schonberg s The Great Pianists would have on her over. eager ten year old Pathetique attempting pupil when he spied it on. her shelf begged to take it home and proceeded to read it many. times over That book did much to fire my imagination and it is. not an exaggeration to say that it permanently shaped my musical. outlook It also has the distinction of being the earliest read book in. my bibliography, Within four years Mrs McMurphy was packing me off to. to the nearest University professor 200 km away And so for the. next nine years it was the British pianist Robin Harrison who. continued to shape my musical outlook Besides helping me master. Acknowledgements, the complete Chopin Etudes and other standard literature his love.
of the great early twentieth century pianists violinists conductors. and singers also resonated deeply with me Especially impressive. was his vast record collection which I spent many hours. examining His musical knowledge in a wide variety of genres was. truly formidable and much of it came from his library as he. readily admitted I remember him with much fondness and. sadness as he was never able to see this book Several years ago I. commented to him that I was trying to solve the problem of how to. defend twentieth century romanticism He answered in a weary. voice Yes somebody should do that dear boy I like to think that. he would have approved of the final result, Also to be mentioned here are Maureen DuWors and Walter. Kreyszig both of whom gave me crucial help at a critical time near. the end of my undergrad years I also want to thank my old Grade. 8 industrial arts teacher Mr Sontheim who kept in touch over the. years and recently offered some practical support as this. dissertation was nearing completion, Last but not least I would like to give a sincere and. heartfelt thank you to my family and above all my beloved wife. Elation whose longsuffering and forebearance helped me through. some difficult times Without such a bedrock of support this. dissertation would never have been completed let alone started. Introduction, I n 1995 historian Glenn Watkins took a moment to reflect on. the nature of scholarly priorities in the field of twentieth. century music history writing In retrospect he observed. it is inevitable that a limited number of works tend to stand out as. emblematic of the more general crisis that seemed to suggest the. final overthrow of the Romantic Age No such event ever took. place of course but the degree to which the Romantic Agony. lingered on is seldom dwelt on in the writing of the history of. twentieth century music 1, What follows then is an exploration of what Watkins called. lingering romanticism However and leaving aside the agony. caricature we will revise his adjective slightly We will begin. with the observation that romanticism did not merely linger but. actually continued to flourish in many quarters often at the. expense of radical new ways of composing which allegedly. displaced it Watkins calls his lingering stream romantic and so. will we For some recent scholars who tend to see major early. twentieth century composers such as Richard Strauss and Jean. Sibelius as modern rather than romantic Watkins way of. applying the term has now become somewhat old fashioned and. even problematic But this too should be nothing new for. romanticism over the centuries has always been a much contested. and imprecise concept Despite all of that pondering the idea in. Glenn Watkins Soundings Music in the Twentieth Century New York. Schirmer Books 1995 170,Introduction, the sense that Watkins conceives it can still be useful as a.
springboard for discussing a kind of modern era music that. advanced thinkers over the decades have tended to see as. embarrassingly outmoded and which has long been problematic. for historians who have preferred to evaluate twentieth century. music according to what is still occasionally referred to as the. progressive viewpoint, For our purposes the term romanticism will be used to. represent the general sound world of an international stream of. composition that was extraordinarily resilient and diverse too. diverse perhaps to be seen as a single stream The immediate. reaction from some readers will no doubt be How can you call this. or that twentieth century composer romantic Well I can only. reply that this is not the ultimate point of our argument After all. how can we call Brahms a romantic today when he had actually. represented the classic stream in the late nineteenth century 2 Or. better yet how can we now call Mozart and Haydn classics. when their contemporaries considered them to be romantics More. to the point behind the seemingly perverse selection of vague. basic terminology lies a larger problem that has not entirely gone. away Call them what you will but there is no denying that. romantic twentieth century composers were long considered by. many commentators to be the most stylistically out of place as far. as the dominant currents of their era were concerned That is a. judgement we will directly challenge As Watkins observed. romantic music was still being written in plentiful amounts in. every decade of the twentieth century and writers like him. certainly seemed to know who the most romantic sounding. composers were 3 However such figures tended to be absent from. general historical accounts as Watkins also confirmed. The fifth edition of Grove still follows the pattern where Bach Mozart. Beethoven Mendelssohn and Brahms are designated as classical while. Berlioz Chopin Schumann Liszt and Wagner are romantic See Nicholas. Colmyn Gatty Romantic in Grove s Dictionary of Music and Musicians. 5th ed New York St Martin s Press 1954 7 215, This will be discussed further in chapters one and two. Two Centuries in One Musical Romanticism and the Twentieth Century Von der Hochschule f r Musik und Theater Rostock From the Rostock University of Music and Theatre zur Erlangung des Grades eines in fulfillment of the degree of Doktors der Philosophie Doctor of Philosophy Dr phil Ph D genehmigte Dissertation approved dissertation von by Herbert Pauls Geboren am Born on 30 10 1967

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