• Complain

Leppert - Aesthetic technologies of modernity, subjectivity, and nature: opera, orchestra, phonograph, film

Here you can read online Leppert - Aesthetic technologies of modernity, subjectivity, and nature: opera, orchestra, phonograph, film full text of the book (entire story) in english for free. Download pdf and epub, get meaning, cover and reviews about this ebook. City: Oakland;CA, year: 2016, publisher: University of California Press, genre: Romance novel. Description of the work, (preface) as well as reviews are available. Best literature library LitArk.com created for fans of good reading and offers a wide selection of genres:

Romance novel Science fiction Adventure Detective Science History Home and family Prose Art Politics Computer Non-fiction Religion Business Children Humor

Choose a favorite category and find really read worthwhile books. Enjoy immersion in the world of imagination, feel the emotions of the characters or learn something new for yourself, make an fascinating discovery.

Leppert Aesthetic technologies of modernity, subjectivity, and nature: opera, orchestra, phonograph, film
  • Book:
    Aesthetic technologies of modernity, subjectivity, and nature: opera, orchestra, phonograph, film
  • Author:
  • Publisher:
    University of California Press
  • Genre:
  • Year:
    2016
  • City:
    Oakland;CA
  • Rating:
    3 / 5
  • Favourites:
    Add to favourites
  • Your mark:
    • 60
    • 1
    • 2
    • 3
    • 4
    • 5

Aesthetic technologies of modernity, subjectivity, and nature: opera, orchestra, phonograph, film: summary, description and annotation

We offer to read an annotation, description, summary or preface (depends on what the author of the book "Aesthetic technologies of modernity, subjectivity, and nature: opera, orchestra, phonograph, film" wrote himself). If you haven't found the necessary information about the book — write in the comments, we will try to find it.

The book addresses how music (especially opera), the phonograph, and film served as cultural agents facilitating the many extraordinary social, artistic, and cultural shifts that characterized the nascent twentieth century and much of what followed long thereafter, even to the present. Three tropes are central: the tensions and traumas...-cultural, social, and personal...-associated with modernity; changes in human subjectivity and its engagement and representation in music and film; and the more general societal impact of modern media, sound recording (the development of the phonograph in particular), and the critical role played by early-century opera recording. A principal focus of the book is the conflicted relationship in Western modernity to nature, particularly as nature is perceived in opposition to culture and articulated through music, film, and sound as agents of fundamental, sometimes shocking transformation. The book considers the sound/vision world of modernity filtered through the lens of aesthetic modernism and rapid technological change, and the impact of both, experienced with the prescient sense that there could be no turning back...Provided by publisher.

Leppert: author's other books


Who wrote Aesthetic technologies of modernity, subjectivity, and nature: opera, orchestra, phonograph, film? Find out the surname, the name of the author of the book and a list of all author's works by series.

Aesthetic technologies of modernity, subjectivity, and nature: opera, orchestra, phonograph, film — read online for free the complete book (whole text) full work

Below is the text of the book, divided by pages. System saving the place of the last page read, allows you to conveniently read the book "Aesthetic technologies of modernity, subjectivity, and nature: opera, orchestra, phonograph, film" online for free, without having to search again every time where you left off. Put a bookmark, and you can go to the page where you finished reading at any time.

Light

Font size:

Reset

Interval:

Bookmark:

Make
AESTHETIC TECHNOLOGIES OF MODERNITY SUBJECTIVITY AND NATURE AESTHETIC - photo 1
AESTHETIC TECHNOLOGIES OF MODERNITY, SUBJECTIVITY, AND NATURE
AESTHETIC TECHNOLOGIES OF MODERNITY, SUBJECTIVITY, AND NATURE
Opera Orchestra Phonograph Film

Richard Leppert

Picture 2

UNIVERSITY OF CALIFORNIA PRESS

University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu.

University of California Press

Oakland, California

2015 by The Regents of the University of California

Library of Congress Cataloging-in-Publication Data

Leppert, Richard D., author.

Aesthetic technologies of modernity, subjectivity, and nature: opera orchestra phonograph film / Richard Leppert.

pages cm

Includes bibliographical references and index.

ISBN 978-0-520-28737-2 (cloth : alk. paper) ISBN 978-0-520-96252-1 (ebook)

1. MusicPhilosophy and aesthetics. 2. Modernism (Music)History20th century. 3. OperaSocial aspects. 4. Motion picturesSocial aspects. 5. Sound recordingsSocial aspects. 6. Nature in music. 7. Nature in motion pictures. 8. Puccini, Giacomo, 18581924. Fanciulla del West. 9. Fitzcarraldo (Motion picture) 10. Days of heaven (Motion picture) I. Title.

ML3845.L44 2015

780.904dc23

2015009826

Manufactured in China

24 23 22 21 20 19 18 17 16 15

10 9 8 7 6 5 4 3 2 1

The paper used in this publication meets the minimum requirements of ANSI/NISO Z 39.481992 ( R 2002) ( Permanence of Paper ).

CONTENTS
ILLUSTRATIONS

72A.

72B.

MUSICAL EXAMPLES
ACKNOWLEDGMENTS

I wish to express deepest gratitude to the several colleagues and friends who read various chapters and offered insights, corrections, and encouragement during the long gestation of this project: Hisham Bizri, James Currie, Daniel Goldmark, Helen Greenwald, Berthold Hoeckner, Lawrence Kramer, Charles Kronengold, Sherry Lee, Alice Lovejoy, David M. Lubin, Susan McClary, Jeannie Poole, and Gary Thomas. Peter Franklin and Mitchell Morris patiently read all of it and provided me with a great deal of invariably thoughtful, critical engagement. Joey Crane handled putting all of the musical examples in order; to say the very least, I very much appreciate his attention to detail, timeliness, and skill.

As always, Mary Francis, my long-time editor at the University of California Press, provided invaluable advice and moral support throughout the six years of the books gestation; to her I owe a special note of gratitude. Anne Canright, who copy-edited the manuscript, was attentive to the smallest detail and, in that regard, saved me from more than a few embarrassing lapses. Bradley Depew and Rose Vekony saw to all the details of putting the book into print.

The staff support at the University of Minnesota Libraries was, as ever, professional, tireless, and cheerful, and no matter the numbers of requests for closed-stacks materials. Im deeply grateful kind assistance provided by John Pennino, Archivist for the Metropolitan Opera, and the several staff assistants in the New York Public Librarys Billy Rose Theatre Division at Lincoln Center.

Chapters 1, 2, and 4 are based on the following previously published essays; they have been revised and expanded for inclusion in this volume:

The Civilizing Process: Music and the Aesthetics of Time-Space Relations in The Girl of the Golden West. In Musical Meaning and Human Values, ed. Keith Chapin and Lawrence Kramer, 11750, 20317. New York: Fordham University Press, 2009.

Opera, Aesthetic Violence, and the Imposition of Modernity: Fitzcarraldo. In Beyond the Soundtrack: Representing Music in Cinema, ed. Daniel Goldmark, Lawrence Kramer, and Richard Leppert, 99119. Berkeley: University of California Press, 2007.

Two Notes, One Ending (Three Operas) at the Boundary of the Great Divide; or, Aesthetic Meanderings of the Sonic Psyche. Opera Quarterly 31, nos. 12 (2015): 7199.

INTRODUCTION

This is a book about music, opera especially, the phonograph, and cinema centered on questions concerning modernity, subjectivity, and nature emerging in the years immediately preceding 1910 and following in the next decade or so thereafter. The cultural practices of my concern either date from those years (three chapters) or are constituted by late-twentieth-century looking back at that time period. Along the way, I pause the main narrative to take up related issues in two freestanding excurses. Ill characterize the subject matter of the individual chapters and excurses in due course.

The governing idea for what follows developed over a number of years, but the seed for it was a well-known (at least to literary scholars) text by Virginia Woolf, writing in 1924, where she noted: On or about December, 1910, human character changed.research), and the result is this volume, the totality of which at times moves quite far beyond this opera, regarding which I would be less than frank were I to assume that the connective tissue shared by the chapters and excurses will seem entirely evident simply by the names Ive given to each of them. However, if Ive succeeded in the task I set for myself, by the time you finish reading what follows, the historical, social, cultural, and aesthetic homologies should be clear. Individually or taken together, in any event, Im confident that the cultural artifacts and practices Ive considered are historically and culturally significant: that much as the minimum.

Woolfs concern in 1924 (coincidentally the year of Puccinis death) looking back to 1910 was the changing state of English literature, which faced new aesthetic demands in the twentieth century; in brief, her concern was modernism. Writers, as she put it, tried to compromise (like Puccini, of which more later), but compromise wasnt up to literatures cultural task. And so, she wrote, the smashing and the crashing began. And here, though speaking about literature, Woolf provides a vivid series of explicitly sonic metaphors that mark quasi-epistemic cultural change: Thus it is that we hear all round us,... the sound of breaking and falling, crashing and destruction. It is the prevailing sound of the Georgian agerather a melancholy one if you think what melodious days there have been in the past... if you think of the language, and the heights to which it can soar when free, and see the same eagle [now] captive, bald, and croaking.

Taking a different but related tack a few years later, the Futurist (later fascist) poet F. T. Marinetti celebrated modern noise as the fitting harbinger for a modernism allegorized in this instance as an apotheosis of violence. He wrote to his friend and fellow Futurist Luigi Russolo about the sonorities of what he had heard at the battle of Adrianapolis, Turkey, in October 1912. In an orgasmic ecstasy of words piled atop one another, he took unambiguous pleasure in the sonic (and olfactory) chaos that gave him pleasure as music: What a joy to hear to smell completely taratatata of the machine guns screaming a breathlessness under the stings slaps traak-traak whips pic-pac-pum-tumb weirdness leaps 200 meters range Far far in back of the orchestra pools muddying hyffing goaded oxen wagons. To which Russolo drily responded, We want to give pitches to these diverse noises, regulating them harmonically and rhythmically.

Next page
Light

Font size:

Reset

Interval:

Bookmark:

Make

Similar books «Aesthetic technologies of modernity, subjectivity, and nature: opera, orchestra, phonograph, film»

Look at similar books to Aesthetic technologies of modernity, subjectivity, and nature: opera, orchestra, phonograph, film. We have selected literature similar in name and meaning in the hope of providing readers with more options to find new, interesting, not yet read works.


Reviews about «Aesthetic technologies of modernity, subjectivity, and nature: opera, orchestra, phonograph, film»

Discussion, reviews of the book Aesthetic technologies of modernity, subjectivity, and nature: opera, orchestra, phonograph, film and just readers' own opinions. Leave your comments, write what you think about the work, its meaning or the main characters. Specify what exactly you liked and what you didn't like, and why you think so.