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Untwisting the serpent : modernism in music, literature, and other arts

Untwisting the serpent : modernism in music, literature, and other arts (Loan 3 times)

Material type
단행본
Personal Author
Albright, Daniel, 1945-
Title Statement
Untwisting the serpent : modernism in music, literature, and other arts / Daniel Albright.
Publication, Distribution, etc
Chicago :   University of Chicago Press,   2000.  
Physical Medium
xiv, 395 p. : ill., music ; 23 cm.
ISBN
0226012530 (alk. paper) 0226012549 (pbk. : alk. paper)
Bibliography, Etc. Note
Includes bibliographical references (p. [381]-386) and index.
Subject Added Entry-Topical Term
Music -- Philosophy and aesthetics. Music and literature. Art and music. Music -- 20th century -- History and criticism. Modernism (Art) Modernism (Literature)
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001 000000782166
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008 981022s2000 iluag b 001 0 eng
010 ▼a 98047950
020 ▼a 0226012530 (alk. paper)
020 ▼a 0226012549 (pbk. : alk. paper)
040 ▼a DLC ▼c DLC ▼d UKM ▼d PRC ▼d C#P ▼d MUQ ▼d 211009
049 1 ▼l 111222778
050 0 0 ▼a ML3849 ▼b .A44 2000
082 0 0 ▼a 700/.4112 ▼2 21
090 ▼a 700.4112 ▼b A342u
100 1 ▼a Albright, Daniel, ▼d 1945-
245 1 0 ▼a Untwisting the serpent : ▼b modernism in music, literature, and other arts / ▼c Daniel Albright.
260 ▼a Chicago : ▼b University of Chicago Press, ▼c 2000.
300 ▼a xiv, 395 p. : ▼b ill., music ; ▼c 23 cm.
504 ▼a Includes bibliographical references (p. [381]-386) and index.
650 0 ▼a Music ▼x Philosophy and aesthetics.
650 0 ▼a Music and literature.
650 0 ▼a Art and music.
650 0 ▼a Music ▼y 20th century ▼x History and criticism.
650 0 ▼a Modernism (Art)
650 0 ▼a Modernism (Literature)

Holdings Information

No. Location Call Number Accession No. Availability Due Date Make a Reservation Service
No. 1 Location Main Library/Western Books/ Call Number 700.4112 A342u Accession No. 111222778 Availability Available Due Date Make a Reservation Service B M

Contents information

Table of Contents


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

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