Twentieth-Century Music in Western Europe: The Compositions and The Recordings

1965 ◽  
Vol 13 (4) ◽  
pp. 263-264
Author(s):  
Bruce Archibald
Keyword(s):  
Twentieth Century ◽  
Western Europe ◽  
Twentieth Century Music

The Doctor Faustus Dossier

2018 ◽  
Author(s):  
Adrian Daub
Keyword(s):  
Twentieth Century ◽  
Los Angeles ◽  
Primary Source ◽  
Music And Literature ◽  
Twentieth Century Music ◽  
Private And Public ◽  
Doctor Faustus ◽  
Public Lives ◽  
Nazi Era ◽  
The Impact

Arnold Schoenberg and Thomas Mann, two towering figures of twentieth-century music and literature, both found refuge in the German-exile community in Los Angeles during the Nazi era. This complete edition of their correspondence provides a glimpse inside their private and public lives and culminates in the famous dispute over Mann's novel Doctor Faustus. In the thick of the controversy was Theodor Adorno, then a budding philosopher, whose contribution to the Faustus affair would make him an enemy of both families. Gathered here for the first time in English, the letters are complemented by diary entries, related articles, and other primary source materials, as well as an introduction that contextualizes the impact that these two great artists had on twentieth-century thought and culture.

Queering Musical Biography in the Writings of Edward Prime-Stevenson and Rosa Newmarch

2020 ◽  
Vol 44 (2) ◽  
pp. 100-118
Author(s):  
Kristin M. Franseen
Keyword(s):  
Twentieth Century ◽  
Instrumental Music ◽  
Primary Source ◽  
Gender And Sexuality ◽  
Benjamin Britten ◽  
Twentieth Century Music ◽  
History Of ◽  
Music Research ◽  
Symphonic Music ◽  
Biographical Knowledge

Beginning with the “open secret” of Benjamin Britten and Peter Pears's relationship and continuing through debates over Handel's and Schubert's sexuality and analyses of Ethel Smyth's memoirs, biography has played a central role in the development of queer musicology. At the same time, life-writing's focus on extramusical details and engagement with difficult-to-substantiate anecdotes and rumors often seem suspect to scholars. In the case of early-twentieth-century music research, however, these very gaps and ambiguities paradoxically offered some authors and readers at the time rare spaces for approaching questions of sexuality in music. Issues of subjectivity in instrumental music aligned well with rumors about autobiographical confession within Tchaikovsky's Symphony No. 6 (Pathétique) for those who knew how to listen and read between the lines. This article considers the different ways in which the framing of biographical anecdotes and gossip in scholarship by music critic-turned-amateur sexologist Edward Prime-Stevenson and Tchaikovsky scholar Rosa Newmarch allowed for queer readings of symphonic music. It evaluates Prime-Stevenson's discussions of musical biography and interpretation in The Intersexes (1908/9) and Newmarch's Tchaikovsky: His Life and Works (1900), translation of Modest Tchaikovsky's biography, and article on the composer in Grove's Dictionary of Music and Musicians to explore how they addressed potentially taboo topics, engaged with formal and informal sources of biographical knowledge (including one another's work), and found their scholarly voices in the absence of academic frameworks for addressing gender and sexuality. While their overt goals were quite different—Newmarch sought to dismiss “sensationalist” rumors about Tchaikovsky's death for a broad readership, while Prime-Stevenson used queer musical gossip as a primary source in his self-published history of homosexuality—both grappled with questions of what can and cannot be read into a composer's life and works and how to relate to possible queer meanings in symphonic music. The very aspects of biography that place it in a precarious position as scholarship ultimately reveal a great deal about the history of musicology and those who write it.

The European identity formation in Ukraine

2017 ◽  
pp. 102-109
Author(s):  
Larysa Kovryk-Tokar
Keyword(s):  
Twentieth Century ◽  
Cultural Heritage ◽  
Identity Formation ◽  
European Integration ◽  
European Community ◽  
Collective Identity ◽  
Western Europe ◽  
Political Integration ◽  
European Identity ◽  
European Values

Every nation is quite diverse in terms of his historical destiny, spiritual priorities, and cultural heritage. However, voluntary European integration, which is the final aim of political integration that began in the second half of the twentieth century from Western Europe, provided for an availability of large number of characteristics in common in political cultures of their societies. Therefore, Ukraine needs to find some common determinants that can create inextricable relationship between the European Community and Ukraine. Although Ukrainian culture is an intercultural weave of two East macrocivilizations, according to the author, Ukraine tends to Western-style society with its openness, democracy, tolerance, which constitute the basic values of Europeans. Keywords: Identity, collective identity, European values, European integration

Exploring Twentieth-Century Music

1971 ◽  
Vol 19 (1) ◽  
pp. 122-123
Author(s):  
Henry Leland Clarke
Keyword(s):  
Twentieth Century ◽  
Twentieth Century Music

Cicero: On Fate

1992 ◽  
Author(s):  
R.W. Sharples
Keyword(s):  
Twentieth Century ◽  
Free Will ◽  
English Translation ◽  
Western Europe ◽  
Clear Understanding ◽  
Latin Text ◽  
Greek Philosophy ◽  
Philosophical Issue ◽  
Latin Culture ◽  
Consolation Of Philosophy

Cicero and Boethius did more than anyone else to transmit the insights of Greek philosophy to the Latin culture of Western Europe, which has played so influential a part in our civilisation to this day. Cicero's treatise On Fate (De Fato), though surviving only in a fragmentary and mutilated state, records contributions to the discussion of a central philosophical issue, that of free will and determinism, which are comparable in importance to those of twentieth-century philosophers and indeed sometimes anticipate them. Study of the treatise has been hindered by the lack of a combined Latin text and English translation based on a clear understanding of the arguments; this edition is intended to meet this need. The last book of Boethius' Consolation of Philosophy (Philosophiae Consolationis) is linked with Cicero's treatise by its theme, the relation of divine foreknowledge to human freedom. The book presents Latin text with facing-page English translation, introduction and commentary.

Regarding Electronic Music

Tempo ◽  
1966 ◽  
pp. 2-11 ◽  
Author(s):  
Aurelio de la Vega
Keyword(s):  
Twentieth Century ◽  
Electronic Music ◽  
Aesthetic Experience ◽  
The Other ◽  
Musical Composition ◽  
Electronic Medium ◽  
The Public ◽  
The World ◽  
Twentieth Century Music ◽  
Long Time

For a long time now—long when we consider the quick, changing time-scale of our days—electronic music has been with us. The public at large usually remains cold, confused or merely dazed when faced with any new aesthetic experience. Critics, musicologists and the like still seem, as usual, to be unable to predict what will happen to this peculiar, mysterious and often anathematized way of handling musical composition, while many traditionally-minded composers consider it a degrading destruction of the art of music. On the other hand, the electronic medium seems to attract a long, motley caravan of young, inexperienced and often unprepared ‘beatnik type’ self-titled composers, who believe that the world began yesterday and that you only have to push buttons and prepare IBM cards to obtain magical results. Probably not since Schoenberg proclaimed the equal value of the twelve semitones of our sacred but by now obsolete tempered scale has twentieth-century music been faced with such a bewilderment.

‘A magic science’: rock music as a recording art

Popular Music ◽  
1983 ◽  
Vol 3 ◽  
pp. 195-213 ◽  
Author(s):  
Paul Clarke
Keyword(s):  
Twentieth Century ◽  
Rock Music ◽  
Sound Recording ◽  
Musical Practice ◽  
Order And Disorder ◽  
Twentieth Century Music ◽  
Late Twentieth ◽  
And Control ◽  
Jimi Hendrix ◽  
Late Twentieth Century

Jimi Hendrix once claimed ‘I'm working on music to be completely, utterly a magic science’ (Henderson 1981, p. 337). It is a description that fits not just the best of Hendrix's own music, but the best of all that late twentieth-century music in which the ability to capture and control sounds (on tape or disc) has become a means of extending old musical forms and traditions, and establishing new possibilities for them. Throughout his career, Hendrix drew nourishment from his musical roots in black traditions, but it was not until the summer of 1967 that he plugged himself fully into the new possibilities opened up by the technology of sound recording. Hendrix had already proved himself something of a musical ‘magician’ in the ancient sense in that he attempted, through music, to mediate between order and disorder, using his guitar as an expressive extension of himself to flirt with the danger and power of musical disintegration (for the parallel with non-Western musical practice see Shepherd 1977, p. 72; Mellers 1973, pp. 24–6; Clarke 1982, pp. 227–9).

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