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From 1989, or European Music and the Modernist Unconscious (e-bog) af Brodsky, Seth
Brodsky, Seth

From 1989, or European Music and the Modernist Unconscious e-bog

692,63 DKK
What happened to musical modernism? When did it end? Did it end? In this unorthodox Lacanian account of European New Music, Seth Brodsky focuses on the unlikely year 1989, when New Music hardly takes center stage. Instead one finds Rostropovich playing Bach at Checkpoint Charlie; or Bernstein changing ';Joy' to ';Freedom' in Beethoven's Ninth; or David Hasselhoff lip-synching ';Looking for Freedo…
What happened to musical modernism? When did it end? Did it end? In this unorthodox Lacanian account of European New Music, Seth Brodsky focuses on the unlikely year 1989, when New Music hardly takes center stage. Instead one finds Rostropovich playing Bach at Checkpoint Charlie; or Bernstein changing ';Joy' to ';Freedom' in Beethoven's Ninth; or David Hasselhoff lip-synching ';Looking for Freedom' to thousands on New Year's Eve. But if such spectacles claim to master their historical moment, New Music unconsciously takes the role of analyst. In so doing, it restages earlier scenes of modernism. As world politics witnesses a turning away from the possibility of revolution, musical modernism revolves in place, performing century-old tasks of losing, failing, and beginning again, in preparation for a revolution to come.
E-bog 692,63 DKK
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Forfattere Brodsky, Seth (forfatter)
Forlag University of California Press
Udgivet 24.01.2017
Længde 368 sider
Genrer 1D
Sprog English
Format pdf
Beskyttelse LCP
ISBN 9780520966505

What happened to musical modernism? When did it end? Did it end? In this unorthodox Lacanian account of European New Music, Seth Brodsky focuses on the unlikely year 1989, when New Music hardly takes center stage. Instead one finds Rostropovich playing Bach at Checkpoint Charlie; or Bernstein changing ';Joy' to ';Freedom' in Beethoven's Ninth; or David Hasselhoff lip-synching ';Looking for Freedom' to thousands on New Year's Eve. But if such spectacles claim to master their historical moment, New Music unconsciously takes the role of analyst. In so doing, it restages earlier scenes of modernism. As world politics witnesses a turning away from the possibility of revolution, musical modernism revolves in place, performing century-old tasks of losing, failing, and beginning again, in preparation for a revolution to come.