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Central Europe in Text: Music, Aesthetics, and Literary Discourse in the 20th Century.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Central Europe in Text: Music, Aesthetics, and Literary Discourse in the 20th Century./
作者:	Emmanuel, Nicholas.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2021,
面頁冊數:	257 p.
附註:	Source: Dissertations Abstracts International, Volume: 83-04, Section: A.
Contained By:	Dissertations Abstracts International83-04A.
標題:	Music history. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28717955
ISBN:	9798460420209

Central Europe in Text: Music, Aesthetics, and Literary Discourse in the 20th Century.
Emmanuel, Nicholas.

Central Europe in Text: Music, Aesthetics, and Literary Discourse in the 20th Century. - Ann Arbor : ProQuest Dissertations & Theses, 2021 - 257 p.

Source: Dissertations Abstracts International, Volume: 83-04, Section: A.

Thesis (Ph.D.)--State University of New York at Buffalo, 2021.

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

This dissertation examines modernist music and literature in Central Europe during the 20th century. My critical aims for this work are twofold. Firstly, I consider ideas about cultural identity, political solidarity, and nationalism as refracted through Central European musical and literary discourses during this period. In doing so, I hope to better understand the complications that global political conflict has wrought upon aesthetic praxis and production in the region. Secondly, through this research, I hope to expand current methodologies of Cold War musicological discourse by calling into question certain of its frames for research, including its reliance on nation and its emphasis on the political dimension of art, and by reevaluating its critical view of aesthetics. It is my contention that current approaches to the music of the Central European region are not well suited to what I am calling the Central European sensibility. What is needed is a methodological approach that is sensitive to the aesthetic and intellectual values held by artists and thinkers of the region.To a considerable degree, nation remains a latent assumption in U.S. American musicology as a whole; only occasionally do we explicitly consider the consequences of conducting research along stratified national boundaries. The ramifications of this, I argue, have influenced scholarship on 20th century music at a cellular level and, most importantly for my purposes, have shaped our scholarly understanding of postwar musical developments. Cold War Studies, which has become the prevailing lens through which late 20th century musical developments are interpreted, makes its organization around national borders and interests explicit. According to its proponents, Cold War musicology has made possible more cohesive narratives of post-war music. It has made sense of the various strands and offshoots of modernism, post-modernism, and socialist realism by bringing them in line with larger political narratives. Perhaps unsurprisingly, this often results in scholarship that advances (or implies) the post-war dominance of the United States both politically and culturally (inasmuch as it aims to conflate cultural and political activity). In addition to this national emphasis, Cold War musicology has, by and large, eschewed aesthetic discourse. Concerns such as these were already a principle focus of intellectual discussion in Central Europe during the 1970s and 80s. As my dissertation articulates, resurgent interest in the idea of Central Europe itself became a means of resisting ideological pressure from both the East and the West; and to an equal extent, this Central European idea responded to the spread of ultra-nationalist sentiment throughout the region. Both the global and the local phenomena interacted to render the small nations of this region invisible on the map of Europe, as Milan Kundera argued in his seminal essay, "The Tragedy of Central Europe." These developments had the secondary consequence, as Kundera argued, that they threatened to obliterate Central Europe as a cultural construct associated with a particular aesthetic sensibility. I am, therefore, especially interested in the ways that the Central European idea manifested in the struggle for aesthetic autonomy and visibility in this region where art and its ideological valences were actively being compressed into a single entity. Indeed, I want to highlight the fact that the Central European discourse was itself already critical of methodologies of the sort employed in Cold War musicology. Above all, I want to put music into conversation with the larger intellectual discourses about Central European identity and anti-political activity of this period. The literary discourse that emerged around the idea of Central Europe during the 1980s, in particular, offers us invaluable models for thinking about the historical relationship between music, text, and nation. Structurally, this dissertation is organized to demonstrate forms of dialogue between political and aesthetic spheres, between nations, and between musical and intellectual concerns. On a conceptual level, this boundary crossing is meant to problematize rigid nationalist thinking by stressing the cultural and political interdependence of supposedly independent nation-states.

ISBN: 9798460420209Subjects--Topical Terms:

3342382
Music history.
Subjects--Index Terms:

Aesthetics

Central Europe in Text: Music, Aesthetics, and Literary Discourse in the 20th Century.
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245 1 0 $a Central Europe in Text: Music, Aesthetics, and Literary Discourse in the 20th Century.
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300 $a 257 p.
500 $a Source: Dissertations Abstracts International, Volume: 83-04, Section: A.
500 $a Advisor: Currie, James R.
502 $a Thesis (Ph.D.)--State University of New York at Buffalo, 2021.
506 $a This item must not be sold to any third party vendors.
520 $a This dissertation examines modernist music and literature in Central Europe during the 20th century. My critical aims for this work are twofold. Firstly, I consider ideas about cultural identity, political solidarity, and nationalism as refracted through Central European musical and literary discourses during this period. In doing so, I hope to better understand the complications that global political conflict has wrought upon aesthetic praxis and production in the region. Secondly, through this research, I hope to expand current methodologies of Cold War musicological discourse by calling into question certain of its frames for research, including its reliance on nation and its emphasis on the political dimension of art, and by reevaluating its critical view of aesthetics. It is my contention that current approaches to the music of the Central European region are not well suited to what I am calling the Central European sensibility. What is needed is a methodological approach that is sensitive to the aesthetic and intellectual values held by artists and thinkers of the region.To a considerable degree, nation remains a latent assumption in U.S. American musicology as a whole; only occasionally do we explicitly consider the consequences of conducting research along stratified national boundaries. The ramifications of this, I argue, have influenced scholarship on 20th century music at a cellular level and, most importantly for my purposes, have shaped our scholarly understanding of postwar musical developments. Cold War Studies, which has become the prevailing lens through which late 20th century musical developments are interpreted, makes its organization around national borders and interests explicit. According to its proponents, Cold War musicology has made possible more cohesive narratives of post-war music. It has made sense of the various strands and offshoots of modernism, post-modernism, and socialist realism by bringing them in line with larger political narratives. Perhaps unsurprisingly, this often results in scholarship that advances (or implies) the post-war dominance of the United States both politically and culturally (inasmuch as it aims to conflate cultural and political activity). In addition to this national emphasis, Cold War musicology has, by and large, eschewed aesthetic discourse. Concerns such as these were already a principle focus of intellectual discussion in Central Europe during the 1970s and 80s. As my dissertation articulates, resurgent interest in the idea of Central Europe itself became a means of resisting ideological pressure from both the East and the West; and to an equal extent, this Central European idea responded to the spread of ultra-nationalist sentiment throughout the region. Both the global and the local phenomena interacted to render the small nations of this region invisible on the map of Europe, as Milan Kundera argued in his seminal essay, "The Tragedy of Central Europe." These developments had the secondary consequence, as Kundera argued, that they threatened to obliterate Central Europe as a cultural construct associated with a particular aesthetic sensibility. I am, therefore, especially interested in the ways that the Central European idea manifested in the struggle for aesthetic autonomy and visibility in this region where art and its ideological valences were actively being compressed into a single entity. Indeed, I want to highlight the fact that the Central European discourse was itself already critical of methodologies of the sort employed in Cold War musicology. Above all, I want to put music into conversation with the larger intellectual discourses about Central European identity and anti-political activity of this period. The literary discourse that emerged around the idea of Central Europe during the 1980s, in particular, offers us invaluable models for thinking about the historical relationship between music, text, and nation. Structurally, this dissertation is organized to demonstrate forms of dialogue between political and aesthetic spheres, between nations, and between musical and intellectual concerns. On a conceptual level, this boundary crossing is meant to problematize rigid nationalist thinking by stressing the cultural and political interdependence of supposedly independent nation-states.
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653 $a Literature
653 $a Modernity
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773 0 $t Dissertations Abstracts International $g 83-04A.
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