東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

FindBook

Google Book

Amazon

博客來

Interpreting Race and Difference in the Operas of Richard Strauss.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Interpreting Race and Difference in the Operas of Richard Strauss./
作者:	Prokert, Patricia Josette.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2020,
面頁冊數:	192 p.
附註:	Source: Dissertations Abstracts International, Volume: 82-07, Section: A.
Contained By:	Dissertations Abstracts International82-07A.
標題:	Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28240247
ISBN:	9798684621918

Interpreting Race and Difference in the Operas of Richard Strauss.
Prokert, Patricia Josette.

Interpreting Race and Difference in the Operas of Richard Strauss. - Ann Arbor : ProQuest Dissertations & Theses, 2020 - 192 p.

Source: Dissertations Abstracts International, Volume: 82-07, Section: A.

Thesis (Ph.D.)--University of Michigan, 2020.

This item must not be sold to any third party vendors.

After World War II, Richard Strauss's life and compositions came under intense scrutiny as scholars tried to understand his position with respect to the National Socialist regime. Their conclusions varied; however, the focus remained on separating Strauss's actions and works during the Third Reich from his earlier career. By combining theoretical and historical resources on race, biography, and music, my research demonstrates continuity between Strauss's early biography and operas and his later works and political decisions. Examining the racialization of German Others in the late nineteenth and early twentieth centuries provides an unexplored, yet relevant facet of the composer's biography, one that has direct consequences for the interpretation of not only Strauss's relationships with and views toward these Others, but also how these attitudes are reflected in his operas.Using current musicological research on musical difference and exoticism, I offer a new perspective on Strauss's approach to depicting the Other in opera, taking into account both the origins and the significance of historical German representations of racial, national, and gendered Others. In order to discuss the normalcy of racism and racist behaviors in early twentieth century German society, my research borrows from critical race theory as it relates to musicological research, adapting existing models of racial difference to the study of constructions of Others that were prevalent in Strauss's lifetime. Further, I engage with the work of musicologist Ralph Locke who argues that musical exoticism evokes in or through music-whether that music is 'exotic-sounding' or not-a people, place, or social milieu that is not entirely imaginary and that differs profoundly from the dominant culture in morals, attitudes, and customs. Although there is a general tendency within music scholarship to privilege explanations that grow out of the notes of the score or the music itself, Locke's broader definition of musical exoticism does not exclude works that exhibit few stylistic markers of "Otherness" or none at all. I analyze four of Strauss's operas-Salome, Rosenkavalier, Die Frau ohne Schatten, and Friedenstag-as exotic musical works, presenting a broader context that incorporates not only staged representations of race and difference, but also accounts for the social and cultural tropes that were articulated during Strauss's life.

ISBN: 9798684621918Subjects--Topical Terms:

516178
Music.
Subjects--Index Terms:

National socialism

Interpreting Race and Difference in the Operas of Richard Strauss.
LDR:03963nmm a2200505 4500 001 2343642
005 20220512072122.5
008 241004s2020 ||||||||||||||||| ||eng d
020 $a 9798684621918
035 $a (MiAaPQ)AAI28240247
035 $a (MiAaPQ)umichrackham003311
035 $a AAI28240247
040 $a MiAaPQ $c MiAaPQ
100 1 $a Prokert, Patricia Josette. $3 3682241
245 1 0 $a Interpreting Race and Difference in the Operas of Richard Strauss.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2020
300 $a 192 p.
500 $a Source: Dissertations Abstracts International, Volume: 82-07, Section: A.
500 $a Advisor: Fulcher, Jane Fair;Geary, Jason Duane.
502 $a Thesis (Ph.D.)--University of Michigan, 2020.
506 $a This item must not be sold to any third party vendors.
506 $a This item must not be added to any third party search indexes.
520 $a After World War II, Richard Strauss's life and compositions came under intense scrutiny as scholars tried to understand his position with respect to the National Socialist regime. Their conclusions varied; however, the focus remained on separating Strauss's actions and works during the Third Reich from his earlier career. By combining theoretical and historical resources on race, biography, and music, my research demonstrates continuity between Strauss's early biography and operas and his later works and political decisions. Examining the racialization of German Others in the late nineteenth and early twentieth centuries provides an unexplored, yet relevant facet of the composer's biography, one that has direct consequences for the interpretation of not only Strauss's relationships with and views toward these Others, but also how these attitudes are reflected in his operas.Using current musicological research on musical difference and exoticism, I offer a new perspective on Strauss's approach to depicting the Other in opera, taking into account both the origins and the significance of historical German representations of racial, national, and gendered Others. In order to discuss the normalcy of racism and racist behaviors in early twentieth century German society, my research borrows from critical race theory as it relates to musicological research, adapting existing models of racial difference to the study of constructions of Others that were prevalent in Strauss's lifetime. Further, I engage with the work of musicologist Ralph Locke who argues that musical exoticism evokes in or through music-whether that music is 'exotic-sounding' or not-a people, place, or social milieu that is not entirely imaginary and that differs profoundly from the dominant culture in morals, attitudes, and customs. Although there is a general tendency within music scholarship to privilege explanations that grow out of the notes of the score or the music itself, Locke's broader definition of musical exoticism does not exclude works that exhibit few stylistic markers of "Otherness" or none at all. I analyze four of Strauss's operas-Salome, Rosenkavalier, Die Frau ohne Schatten, and Friedenstag-as exotic musical works, presenting a broader context that incorporates not only staged representations of race and difference, but also accounts for the social and cultural tropes that were articulated during Strauss's life.
590 $a School code: 0127.
650 4 $a Music. $3 516178
650 4 $a Musical composition. $3 3289630
650 4 $a Fine arts. $3 2122690
650 4 $a Sociology. $3 516174
650 4 $a Music history. $3 3342382
650 4 $a European history. $2 bicssc $3 1972904
650 4 $a Ethnic studies. $2 bicssc $3 1556779
653 $a National socialism
653 $a Antisemitism
653 $a Interpreting race
653 $a Operas
653 $a Richard Strauss
653 $a World War II
653 $a German society
653 $a 20th century
653 $a Critical race theory
653 $a Musical exoticism
690 $a 0335
690 $a 0413
690 $a 0357
690 $a 0631
690 $a 0214
690 $a 0626
690 $a 0208
710 2 $a University of Michigan. $b Music: Musicology. $3 3682242
773 0 $t Dissertations Abstracts International $g 82-07A.
790 $a 0127
791 $a Ph.D.
792 $a 2020
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28240247