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Erhabenheit scheint ein angestaubtes ästhetisches Konzept zu sein. Doch Musik und Klangkunst konfrontieren uns seit dem 20. Jahrhundert mit Werken, in denen Stille und lange Dauern selbst zu überwältigenden Akteuren werden. Sonja Heyer entwickelt aus der Akteur-Netzwerk-Theorie und dem kritischen Posthumanismus das Konzept der transformativen Erhabenheit. Darin überlässt sich der Mensch nicht einer metaphysischen Ewigkeit, sondern wird Teil eines lebendigen ästhetischen Netzwerkes. Neben Werkanalysen dienen auch erstmalig veröffentlichte Interviews mit Mitgliedern der Komponistengruppe wandelweiser der empirischen Fundierung dieser neuen Entwicklung in der zeitgenössischen Musik.

Wandelweiser Komponisten Ensemble. --- Actor-network-theory. --- Aesthetics. --- Art. --- Cultural History. --- Duration. --- Modern Music. --- Music History. --- Music. --- Musicology. --- Philosophy of Culture. --- Posthumanism. --- Sound. --- Time.

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All-new interviews with 33 of the world's leading composers--from Adams and Crumb to Gubaïdulina and Rihm--give unique insights into the creative process.

Composers --- Music --- Courage. --- History and criticism. --- Bravery --- Courageousness --- Dauntlessness --- Fearlessness --- Heroism --- Intrepidity --- Intrepidness --- Valiance --- Valiancy --- Valiantness --- Valor --- Valorousness --- Conduct of life --- Heroes --- Art. --- Composer. --- Conductor. --- Friedrich Cerha. --- Georg Friedrich Haas. --- George Crumb. --- Giya Kancheli. --- Gyorgy Kurtag. --- Helmut Lachenmann. --- John Adams. --- Libby Larsen. --- Modern music. --- Music history. --- Music. --- Musicology. --- Robert Morris. --- Sofia Gubaidulina. --- Wolfgang Rihm.

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When Nietzsche dubbed Richard Wagner "the most enthusiastic mimomaniac" ever to exist, he was objecting to a hollowness he felt in the music, a crowding out of any true dramatic impulse by extravagant poses and constant nervous movements. Mary Ann Smart suspects that Nietzsche may have seen and heard more than he realized. In Mimomania she takes his accusation as an invitation to listen to Wagner's music-and that of several of his near-contemporaries-for the way it serves to intensify the visible and the enacted. As Smart demonstrates, this productive fusion of music and movement often arises when music forsakes the autonomy so prized by the Romantics to function mimetically, underlining the sighs of a Bellini heroine, for instance, or the authoritarian footsteps of a Verdi baritone. Mimomania tracks such effects through readings of operas by Auber, Bellini, Meyerbeer, Verdi, and Wagner. Listening for gestural music, we find resemblance in unexpected places: between the overwrought scenes of supplication in French melodrama of the 1820's and a cluster of late Verdi arias that end with the soprano falling to her knees, or between the mute heroine of Auber's La Muette de Portici and the solemn, almost theological pantomimic tableaux Wagner builds around characters such as Sieglinde or Kundry. Mimomania shows how attention to gesture suggests a new approach to the representation of gender in this repertoire, replacing aural analogies for voyeurism and objectification with a more specifically musical sense of how music can surround, propel, and animate the body on stage.

Gestes à l'opera. --- Opera --- Gesture in opera. --- Comic opera --- Lyric drama --- Opera, Comic --- Operas --- Drama --- Dramatic music --- Singspiel --- History and criticism --- 19th century. --- attention to gesture. --- auber. --- beauty. --- bellini. --- drama. --- famous composers. --- gestural music. --- live music. --- melodrama. --- meyerbeer. --- mimetic functions. --- mimomania. --- modern music. --- music and gesture. --- music criticism. --- music critics. --- music historians. --- music history. --- music studies. --- musical figures. --- musicians. --- musicology. --- nervous movements. --- nonfiction. --- opera composition. --- opera. --- pantomime. --- physical experiences. --- richard wagner. --- romantic period. --- verdi.

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Temptations of Faust is a theoretical analysis of the conceptual paradigms that allowed German fascism to emerge in a highly civilized nation. Analyzing these paradigms through the dual lens of Thomas Mann's novel Doctor Faustus, his self-confessed parable of fascism about the avant-garde composer Adrian Leverknhn, and Theodor W. Adorno's Philosophy of Modern Music, this cultural study draws on aesthetic, sociohistorical, political, and philosophical discourses to conclude that German fascism is at once continuous and discontinuous with the emancipatory ambitions of modernity. Drawing on Adorno's sociohistorical critique of avant-garde music, Cobley connects Leverknhn's radical aesthetic innovation with Hitler's radical reconfiguration of Germany's administrative apparatus and discovers that postmodern processes of fragmentation may well remain complicit with the totalizing tendencies they seek to disrupt. This lucid and sophisticated book demonstrates that Doctor Faustus provides a more astute understanding of German fascism than Mann is usually given credit for.

Nationaal-socialisme --- National socialism --- National-socialisme --- Nazism --- Nazisme --- Political philosophy. Social philosophy --- Jewish religion --- Adorno, Theodor W. --- Mann, Thomas --- anno 1940-1949 --- Fascism --- Fascisme --- Holocaust, Jewish (1939-1945) --- Holocauste, 1939-1945 --- National socialism. --- Nazisme. --- Philosophy. --- Philosophie. --- Causes. --- Neo-fascism --- Authoritarianism --- Collectivism --- Corporate state --- Synarchism --- Totalitarianism --- Nazis --- Neo-Nazism --- World War, 1939-1945 --- Causes --- Mann, Thomas, --- Adorno, Theodor W., --- Adorno, Theodor Wiesengrund --- Philosophy --- Holocaust [Jewish ] (1939-1945) --- Philosophie der neuen Musik. --- Doktor Faustus. --- Philosophie der neuen Musik (Adorno, Theodor W.) --- Doktor Faustus (Mann, Thomas) --- Philosophy of modern music (Adorno, Theodor W.) --- Philosophy of new music (Adorno, Theodor W.)

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In a book that challenges modernist ideas about the value and role of music in Western society, Composing the Citizen demonstrates how music can help forge a nation. Deftly exploring the history of Third Republic France, Jann Pasler shows how French people from all classes and political persuasions looked to music to revitalize the country after the turbulent crises of 1871. Embraced not as a luxury but for its "public utility," music became an object of public policy as integral to modern life as power and water, a way to teach critical judgment and inspire national pride. It helped people to forget the past, voice conflicting aspirations, and imagine a shared future. Based on a dazzling survey of archival material, Pasler's rich interdisciplinary work looks beyond elites and the histories their agendas have dominated to open new windows onto the musical tastes and practices of amateurs as well as professionals. A fascinating history of the period emerges, one rooted in political realities and the productive tensions between the political and the aesthetic. Highly evocative and deeply humanistic, Composing the Citizen ignites broad debates about music's role in democracy and its meaning in our lives.

Music --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Social aspects --- History --- Political aspects --- France --- Social life and customs --- Politics and government --- 1871. --- aesthetics. --- artists. --- democracy. --- discussion books. --- effect of music. --- engaging. --- france. --- french people. --- french society. --- global politics. --- modern history. --- modern life. --- modern music. --- music history. --- music. --- musicians. --- national identity. --- national pride. --- nonfiction. --- performing arts. --- political. --- public policy. --- public utility. --- role of music. --- theoretical. --- third republic france. --- thought provoking. --- value of music. --- western music. --- western society.