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"This book examines the concept of 'dark sound', a strand of contemporary music that links the ideas of death, desire and violence with women's and gender studies"--
Music by women composers --- Women in music. --- Sex role in music. --- Desire in music. --- Death in music. --- Violence in music. --- History and criticism.
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How does musical harmony engage listeners in relations of desire? Where does this desire come from? Author Kenneth Smith seeks to answer these questions by analyzing works from the turn of the twentieth- century that are both harmonically enriched and psychologically complex. Desire in Chromatic Harmony yields a new theory of how chromatic chord progressions direct the listener on intricate journeys through harmonic space, mirroring the tensions of the psyche found in Schopenhauer, Freud, Lacan, Lyotard, and Deleuze. Smith extends this mode of enquiry into sophisticated music theory, while exploring philosophically engaged European and American composers such as Richard Strauss, Alexander Skryabin, Josef Suk, Charles Ives, and Aaron Copland. Focusing on harmony and chord progression, the book drills down into the diatonic undercurrent beneath densely chromatic and dissonant surfaces. From the obsession with death and mourning in Suk's asrael Symphony to an exploration of'perversion'in Strauss's elektra; from the Sufi mysticism of Szymanowski's Song of the Night to the failed fantasy of the American dream in Copland's The Tender Land, Desire in Chromatic Harmony cuts a path through the dense forests of chromatic complexity, revealing the psychological make-up of post-Wagnerian psychodynamic music.
Music --- Desire in music --- Harmony --- Music theory --- Music psychology --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Analysis, appreciation --- Psychological aspects --- Psychology --- E-books --- Aesthetics --- anno 1900-1999
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In this book, Susan McClary examines the mechanisms through which seventeenth-century musicians simulated extreme affective states-desire, divine rapture, and ecstatic pleasure. She demonstrates how every major genre of the period, from opera to religious music to instrumental pieces based on dances, was part of this striving for heightened passions by performers and listeners. While she analyzes the social and historical reasons for the high value placed on expressive intensity in both secular and sacred music, and she also links desire and pleasure to the many technical innovations of the period. McClary shows how musicians-whether working within the contexts of the Reformation or Counter-Reformation, Absolutists courts or commercial enterprises in Venice-were able to manipulate known procedures to produce radically new ways of experiencing time and the Self.
Music --- History and criticism. --- Musical criticism. --- Hermeneutics (Music) --- Music criticism --- Journalism --- History and criticism --- Desire in music --- Pleasure in music --- Musique --- Désir dans la musique --- Plaisir dans la musique --- Histoire et critique --- 17th century musicians. --- amarilli. --- arias. --- bach. --- beethoven. --- beethovens fifth. --- classical composers. --- classical music history. --- clevelandclassical. --- enlightening insights on music. --- history of music composers. --- history of music. --- history of opera. --- how to write music. --- learning to play music. --- leisure reads. --- master piece music. --- musical history. --- musicians. --- musicology. --- ode to joy. --- opera and sex. --- religion. --- renaissance era. --- savant composers. --- sex and music. --- sex. --- social and historical music. --- timeless music. --- vacation reads.
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