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Migrant cosmopolitan modern: Cultura...

Cohen, Brigid Maureen.

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Migrant cosmopolitan modern: Cultural reconstruction in Stefan Wolpe's musical thought, 1919--1972.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Migrant cosmopolitan modern: Cultural reconstruction in Stefan Wolpe's musical thought, 1919--1972./
Author:	Cohen, Brigid Maureen.
Description:	370 p.
Notes:	Source: Dissertation Abstracts International, Volume: 68-10, Section: A, page: 4128.
Contained By:	Dissertation Abstracts International68-10A.
Subject:	Biography. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3285458
ISBN:	9780549278610

Migrant cosmopolitan modern: Cultural reconstruction in Stefan Wolpe's musical thought, 1919--1972.
Cohen, Brigid Maureen.

Migrant cosmopolitan modern: Cultural reconstruction in Stefan Wolpe's musical thought, 1919--1972. - 370 p.

Source: Dissertation Abstracts International, Volume: 68-10, Section: A, page: 4128.

Thesis (Ph.D.)--Harvard University, 2007.

This dissertation traces a history of twentieth-century modernism and explores problems in modernism theory from the perspective of the life and work of the German-Jewish emigre composer Stefan Wolpe. Many of the practices of aesthetic modernism have been the work of displaced people, and the twentieth century has even been described as "the age of the refugee." Yet problems of displacement are neither confronted by prevailing theories of musical modernism nor adequately foregrounded in its historiography. Wolpe's case presents a unique opportunity to address these urgent historical and theoretical issues, because he devoted himself to transforming his uprooted life into the material for a socially constructive artistic practice. An indispensable but too often overlooked nodal figure in the history of modernism, Wolpe's work spanned multiple continents and diverse artistic communities. His affiliations ranged from the Bauhaus and agitprop scene in Weimar-era Germany to Anton Webern to Arab classical musicians and the kibbutzim in 1930's Palestine to New York bebop and Black Mountain College. Contrary to the cliche of the solitary modernist composer, all of Wolpe's projects were intensely dialogical. In recently available unpublished writings, Wolpe described his search for diverse, cross-cultural forms of interaction as a culturally reconstructive ethic to be taught to others and exemplified through his composition. "The business of one's art and one's human relationships," he declared at mid-century, was "the will to connect," or finding value in diverse forms of life and artistic expression. Through close interpretations of Wolpe's compositions and writings, this study shows how the composer came to conceive this cosmopolitan ethic as a response to the political disasters of the century and his personal uprooting. In doing so, this study charts a history of interdisciplinary modernist communities that grappled with questions of cultural plurality and reconstruction in the midst of severe crisis, with chapters that focus on Wolpe's avant-garde circles in Weimar-era Germany and the cultural politics of the Bauhaus, Bertolt Brecht, and Walter Benjamin; the composer's connections in Palestine with the pacifist group Brith Shalom; and his involvement in numerous post-war art, music, and poetry scenes and contact with Hannah Arendt.

ISBN: 9780549278610Subjects--Topical Terms:

531296
Biography.

Migrant cosmopolitan modern: Cultural reconstruction in Stefan Wolpe's musical thought, 1919--1972.
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100 1 $a Cohen, Brigid Maureen. $3 1019049
245 1 0 $a Migrant cosmopolitan modern: Cultural reconstruction in Stefan Wolpe's musical thought, 1919--1972.
300 $a 370 p.
500 $a Source: Dissertation Abstracts International, Volume: 68-10, Section: A, page: 4128.
502 $a Thesis (Ph.D.)--Harvard University, 2007.
520 $a This dissertation traces a history of twentieth-century modernism and explores problems in modernism theory from the perspective of the life and work of the German-Jewish emigre composer Stefan Wolpe. Many of the practices of aesthetic modernism have been the work of displaced people, and the twentieth century has even been described as "the age of the refugee." Yet problems of displacement are neither confronted by prevailing theories of musical modernism nor adequately foregrounded in its historiography. Wolpe's case presents a unique opportunity to address these urgent historical and theoretical issues, because he devoted himself to transforming his uprooted life into the material for a socially constructive artistic practice. An indispensable but too often overlooked nodal figure in the history of modernism, Wolpe's work spanned multiple continents and diverse artistic communities. His affiliations ranged from the Bauhaus and agitprop scene in Weimar-era Germany to Anton Webern to Arab classical musicians and the kibbutzim in 1930's Palestine to New York bebop and Black Mountain College. Contrary to the cliche of the solitary modernist composer, all of Wolpe's projects were intensely dialogical. In recently available unpublished writings, Wolpe described his search for diverse, cross-cultural forms of interaction as a culturally reconstructive ethic to be taught to others and exemplified through his composition. "The business of one's art and one's human relationships," he declared at mid-century, was "the will to connect," or finding value in diverse forms of life and artistic expression. Through close interpretations of Wolpe's compositions and writings, this study shows how the composer came to conceive this cosmopolitan ethic as a response to the political disasters of the century and his personal uprooting. In doing so, this study charts a history of interdisciplinary modernist communities that grappled with questions of cultural plurality and reconstruction in the midst of severe crisis, with chapters that focus on Wolpe's avant-garde circles in Weimar-era Germany and the cultural politics of the Bauhaus, Bertolt Brecht, and Walter Benjamin; the composer's connections in Palestine with the pacifist group Brith Shalom; and his involvement in numerous post-war art, music, and poetry scenes and contact with Hannah Arendt.
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