CONTENTS
List of Illustrations = ⅸ
List of Musical Examples = xi
Acknowledgments = xiii
INTRODUCTION : LAOCO a ·· N REVISITED = 5
Lessing and Horace = 8
Babbitt and Greenberg = 10
Adorno = 14
Apollo and Marsyas = 18
Kokoschka's M o ·· rder, Hoffnung der Frauen = 21
Hindemith's M o ·· rder, Hoffnung der Frauen = 25
Aesthetic Paradoxes = 27
Modernism, Historical and Transhistorical = 29
Part One : Figures of Consonance among the Arts
1 HIEROGLYPH = 37
Plotinus = 39
Mozart's The Magic Flute = 41
Perlocution and Epigram : Liszt and Wagner = 45
Rap e' e's Dictionary of Silent Film Music and the Leitmotiv = 48
Wagner and the Origin of Music = 51
Eye Music = 56
Stravinsky's Renard and Prokofiev's Semyon Kotko = 57
2. IDEOGRAM = 63
Pound, Fenollosa, and the Chinese Character = 64
Imagism = 65
3. NOH = 68
Pound, Fenollosa, Yeats, and Michio Ito = 69
Unnatural Nature : Kleist and Mallarm e' = 73
Structure of the Noh Play = 75
Nishikigi = 76
Pound's Tristan = 78
The Pisan Cantos as a Noh Play = 82
The Pisan Cantos as an Opera = 84
Britten's Curlew River and Sumidagawa = 88
4 GESTUS = 101
Dalcroze Exercises = 101
Nijinsky, Nijinska,and The Rite of Spring = 104
Lessing's Theory of Gestus = 108
Rousseau and Gesticulation = 109
Weill's Theory of Gestus = 110
Brecht's Theory of Gestus = 118
Farragoes : Mann ist Mann and The Threepenny Opera = 122
Ruined Wishes : Jenny and Lilian = 130
Inscriptive Tetrachords = 132
Brecht's Photograms = 135
5 VILLONAUD = 138
Text-Embezzling in The Threepenny Opera = 139
Pound's Le testament : Troubadour Imitations = 141
Le testament : Speech as Music = 146
Schoenberg's Erwartung and the Rejection of Sequence = 148
Wagner on Schopenhauer = 151
The Semantics of Erwartung = 152
Le testament : Rhythmic Complexity, Melodic Simplicity = 157
6 NOH, AGAIN = 169
Der Jasager : Teaching Acquiescence = 170
Icons of Trudge and Gluck's Hell = 174
Tragedy in Music : Plaint vs. Wall = 175
The Chill of Hieroglyphs = 178
Weill's Epitaph = 179
Part Two : Figures of Dissonance among the Arts
7 LOOP = 185
Parade : Whorls in Picasso's Designs = 186
Circular Skits = 189
Satie's Furniture Music as a Barrier against Expression = 190
Phonometrography = 192
Property Trees That Don't Convulse = 193
Cocteau's Unspoken Text = 194
8 CUBE = 198
Rimbaud's "Parade" = 198
Cubism and the Letter K = 201
Picasso's Managers : Life inside a Cubist Painting = 202
Metaphors for Cubes in Satie's Music = 206
Ballet r e' aliste and Visual Collage = 207
Intonarumori : Russolo and Boccioni = 211
9 LOOP, AGAIN = 216
Non-synchronicity in Silent Films = 216
The American Girl's Spoof of The Perils of Pauline = 218
Film Loops in Saint-Sa e ·· ns's L'assassinat du duc de Guise = 219
Rel a ^ che : Clair's Entr'acte cin e' matographique as a Film Loop = 220
Rel a ^ che : Segment Construction and Master Bars in Satie's Score = 222
Antheil's Ballet M e' canique : The Big Foot = 225
The L e' ger-Murphy Film of Ballet M e' canique : Cinematic Abstraction = 238
10 SURREALISM (LITERATURE AND ART) = 244
Apollinaire's Coining of the Word Surrealism = 244
Apollinaire's Les mamelles de Tir e' sias = 246
Calligrams = 256
Simultanism : Verbal Polyphony = 263
Surrealism as a Codified Style : Breton's Land of Unlikeness = 266
Lautr e' amont's Tryst of Sewing Machine and Umbrella = 270
Headlessness = 272
11 SURREALISM (MUSIC) = 275
The Cocteau-Milhaud Le boeuf sur le toit : Nothing Happens = 276
The Cocteau-Les Six Les mari e' s de la Tour Eiffel = 278
Dadaist Music : Schwitters and Duchamp = 288
Allusion in the Music of Les mari e' s de la Tour Eiffel = 289
Stravinsky as Fagin = 291
The Jacob-Poulenc Le bal masqu e' = 292
The E' luard-Poulenc Un soir de neige : Theft from Ravel = 295
Poulenc's Setting of Les mamelles de Tir e' sias = 297
Voice-Training Lessons = 308
12 HEAVEN = 311
Temporal Images of the Timeless = 311
Transfiguration in Strauss, Faur e' , and Elgar = 313
Stein, Automatic Writing, and Dal i' = 315
Stein's Early "Psycho1ogical" Style : The Making o[Americans = 316
Stein's Objective Style : Tender Buttons = 317
Stein's An Elucidation : Discourse Vanishing into Visual Pattern = 319
The Land of Unlikeness, Revisited = 323
Stein's Landscape Style : Drama without a Story = 325
Landscape Grammar = 327
Four Saints in Three Acts : An Opera with NO Acts = 331
Heavenly Reconfigurings of Position = 334
Counting for Counting's Sake = 336
Thomson's Early Stein Settings : Susie Asado, Capital Capitals = 339
Thomson's Discipline of Spontaneity = 341
Four Saints : Consonant Harmony, Dissonant Syntax = 343
Counting for Counting's Sake, in Music = 347
Grosser's Scenario for Four Saints : Imposing Narrative on the Inenarrable = 354
Stettheimer's Stage Set : The Knickknack Shelf Enlarged = 357
Thomson's Theory of Incidental Music = 360
Voice-Training Lessons, Again = 361
Notes = 365
Works Cited = 381
Photo Credits = 387
Index = 389
