Untwisting the serpent : modernism in music, literature, and other arts /
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| Author / Creator: | Albright, Daniel, 1945- |
|---|---|
| Imprint: | Chicago : University of Chicago Press, c2000. |
| Description: | xiv, 395 p. : ill., music ; 23 cm. |
| Language: | English |
| Subject: | |
| Format: | Print Book |
| URL for this record: | http://pi.lib.uchicago.edu/1001/cat/bib/4317915 |
Table of Contents:
- List of Musical Examples
- Introduction: Laocoon Revisited. Lessing and Horace. Babbitt and Greenberg. Adorno. Apollo and Marsyas. Kokoschka's Morder, Hoffnung der Frauen. Hindemith's Morder, Hoffnung der Frauen. Aesthetic Paradoxes. Modernism, Historical and Transhistorical
- Pt. 1. Figures of Consonance among the Arts. 1. Hieroglyph. Plotinus. Mozart's The Magic Flute. Perlocution and Epigram: Liszt and Wagner. Rapee's Dictionary of Silent Film Music and the Leitmotiv. Wagner and the Origin of Music. Eye Music. Stravinsky's Renard and Prokofiev's Semyon Kotko. 2. Ideogram. Pound, Fenollosa, and the Chinese Character. Imagism. 3. Noh. Pound, Fenollosa, Yeats, and Michio Ito. Unnatural Nature: Kleist and Mallarme. Structure of the Noh Play. Nishikigi. Pound's Tristan. The Pisan Cantos as a Noh Play. The Pisan Cantos as an Opera. Britten's Curlew River and Sumidagawa. 4. Gestus. Dalcroze Exercises. Nijinsky, Nijinska, and The Rite of Spring. Lessing's Theory of Gestus. Rousseau and Gesticulation. Weill's Theory of Gestus. Brecht's Theory of Gestus. Farragoes: Mann ist Mann and The Threepenny Opera. Ruined Wishes: Jenny and Lilian. Inscriptive Tetrachords. Brecht's Photograms. 5. Villonaud. Text-Embezzling in The Threepenny Opera. Pound's Le testament: Troubadour Imitations. Le testament: Speech as Music. Schoenberg's Erwartung and the Rejection of Sequence. Wagner on Schopenhauer. The Semantics of Erwartung. Le testament: Rhythmic Complexity, Melodic Simplicity. 6. Noh, Again. Der Jasager: Teaching Acquiescence. Icons of Trudge and Gluck's Hell. Tragedy in Music: Plaint vs. Wall. The Chill of Hieroglyphs. Weill's Epitaph
- Pt. 2. Figures of Dissonance among the Arts. 7. Loop. Parade: Whorls in Picasso's Designs. Circular Skits. Satie's Furniture Music as a Barrier against Expression. Phonometrography. Property Trees That Don't Convulse. Cocteau's Unspoken Text. 8. Cube. Rimbaud's "Parade" Cubism and the Letter K. Picasso's Managers: Life inside a Cubist Painting. Metaphors for Cubes in Satie's Music. Ballet realiste and Visual Collage. Intonarumori: Russolo and Boccioni. 9. Loop, Again. Non-synchronicity in Silent Films. The American Girl's Spoof of The Perils of Pauline. Film Loops in Saint-Saen's L'assassinat du duc de Guise. Relache: Clair's Entr'acte cinematographique as a Film Loop. Relache: Segment Construction and Master Bars in Satie's Score. Antheil's Ballet Mecanique: The Big Foot. The Leger-Murphy Film of Ballet Mecanique: Cinematic Abstraction. 10. Surrealism (Literature and Art). Apollinaire's Coining of the Word Surrealism. Apollinaire's Les mamelles de Tiresias. Calligrams. Simultanism: Verbal Polyphony. Surrealism as a Codified Style: Breton's Land of Unlikeness. Lautreamont's Tryst of Sewing Machine and Umbrella. Headlessness. 11. Surrealism (Music). The Cocteau-Milhaud Le boeuf sur le toit: Nothing Happens. The Cocteau-Les Six Les maries de la Tour Eiffel. Dadaist Music: Schwitters and Duchamp. Allusion in the Music of Les maries de la Tour Eiffel. Stravinsky as Fagin. The Jacob-Poulenc Le bal masque. The Eluard-Poulenc Un soir de neige: Theft from Ravel. Poulenc's Setting of Les mamelles de Tiresias. Voice-Traning Lessons. 12. Heaven. Temporal Images of the Timeless. Transfiguration in Strauss, Faure, and Elgar. Stein, Automatic Writing, and Dali. Stein's Early "Psychological" Style: The Making of Americans. Stein's Objective Style: Tender Buttons. Stein's An Elucidation: Discourse Vanishing into Visual Pattern. The Land of Unlikeness, Revisited. Stein's Landscape Style: Drama without a Story. Landscape Grammar. Four Saints in Three Acts: An Opera with No Acts. Heavenly Reconfigurings of Position. Counting for Counting's Sake. Thomson's Early Stein Settings: Susie Asado, Capital Capitals. Thomson's Discipline of Spontaneity. Four Saints: Consonant Harmony, Dissonant Syntax. Counting for Counting's Sake, in Music. Grosser's Scenario for Four Saints: Imposing Narrative on the Inenarrable. Stettheimer's Stage Set: The Knickknack Shelf Enlarged. Thomson's Theory of Incidental Music. Voice-Training Lessons, Again.