From 1989, or European music and the modernist unconscious
"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; o...
Saved in:
| Author / Creator: | |
|---|---|
| Format: | Electronic eBook |
| Language: | English |
| Imprint: | Oakland, California : University of California Press, [2017] |
| Subjects: | |
| Online Access: | Available in Books at JSTOR: Evidence-Based Acquisition. |
| LEADER | 02648nam a22003373i 4500 | ||
|---|---|---|---|
| 001 | ebs12219145e | ||
| 003 | EBZ | ||
| 006 | m o d |||||| | ||
| 007 | cr|unu|||||||| | ||
| 008 | 160902t20172017cauag ob 001 0 eng c | ||
| 020 | |z 9780520279360 | ||
| 020 | |a 9780520966505 (online) | ||
| 035 | |a (EBZ)ebs12219145e | ||
| 040 | |a CU-S/DLC |b eng |d EBZ | ||
| 042 | |a pcc | ||
| 050 | 0 | 0 | |a ML240.5 |b B76 2017 |
| 100 | 1 | |a Brodsky, Seth, |d 1975- |e author. | |
| 245 | 1 | 0 | |a From 1989, or European music and the modernist unconscious |h [electronic resource] / |c Seth Brodsky. |
| 264 | 1 | |a Oakland, California : |b University of California Press, |c [2017] | |
| 264 | 4 | |c ©2017 | |
| 500 | |a "Roth Family Foundation music in America imprint." | ||
| 504 | |a Includes bibliographical references (pages 269-332) and index. | ||
| 505 | 0 | |a Introduction. "But supposing He does not come" -- Free. Drei Phantasiestèucke (1) ; Fantasy & Fantasy (1) ; Drei Phantasiestèucke (2) ; Fantasy & Fantasy (2) ; Drei Phantasiestèucke (3) -- New. Freiheitsdreck (1) ; Music & New Music (1) ; Fantasy & Fantasy (3) ; Freiheitsdreck (2) ; Freiheitsdreck (3) -- Again. Repetition (1) ; Repetition (2) ; Repetition (3) ; Repetition (4) ; Music & New Music (2). | |
| 520 | |a "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-syncing "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"--Provided by publisher. | ||
| 650 | 0 | |a Music |z Europe |y 20th century |x History and criticism. | |
| 650 | 0 | |a Music |z Europe |y 20th century |x Philosophy and aesthetics. | |
| 650 | 0 | |a Modernism (Music) |z Europe. | |
| 650 | 0 | |a Nineteen eighty-nine, A.D. | |
| 773 | 0 | |t Books at JSTOR: Evidence-Based Acquisition |d JSTOR | |
| 776 | 1 | |t From 1989, or European music and the modernist unconscious / |w (DLC)2016040759 | |
| 856 | 4 | 0 | |3 Full text available |z Available in Books at JSTOR: Evidence-Based Acquisition. |u https://ezproxy.wellesley.edu/login?url=https://www.jstor.org/stable/10.1525/j.ctt1k85cqf |