Descripción
Jordi Ballester, Germán Gan Quesada (eds). Pages: 540 p. Illustrations:44 b/w Language(s):English, Italian. Publication Year:2018. Brepols, ISBN: 978-2-503-58072-2. Hardback --- SUMMARY The analysis of music criticism, and by extension music literature, has become over the last few decades one of the most active research fields in musicological studies. It has decisively contributed to a reinvigorated understanding of musical life from the 18th century to the present day. It has also provided new methodological tools in order to evaluate the construction processes of the socioeconomic and cultural circumstances that have determined the creation, performance, reception, and intellectual appraisal of the musical reality in contemporary societies. This monograph gathers up to 22 contributions that throw light on a broad range of topics and geographical and cultural areas concerning the situation of music criticism throughout the first half of the twentieth century. So, it offers appealing insights into some of the key elements which define the relationship between music and criticism during a pivotal historical period for the discipline. TABLE OF CONTENTS Jordi Ballester Germán Gan Quesada Preface Writing on Music, Cultural Identity and Political Discourses Ivana Vesi! Reflections of All-Slavic Political Ideals in Narratives on Music: The Case of Yugoslav Music Journals in the Interwar Period Kristin Van den Buys Brussels, Crossroad for French, German and Russian Modernism in the Interwar Period (1919-1940) Gemma Pérez Zalduondo La música en la prensa de la España «nacional» durante la guerra civil española (1936-1939) Stefanka Georgieva «The Vague Time» or: How the Music Criticism Started the Propaganda of the New Socialist Ideology in Bulgarian Musical Culture (1944-1950) Music Criticism, Nationalism and Identity in Latin America Vera Wolkowicz Identidades en construcción: la crítica musical en la revista cultural Nosotros de Buenos Aires (1907-1934 y 1936-1943) Belén Vega Pichaco Las aventuras y desventuras de «un raro Quijote eslavo» en La Habana: la recepción de Igor Stravinsky en Cuba (1924-1946) Lia Tomás Musicologie sous l Ère Vargas et la construction du nationalisme brésilien Marita Fornaro Bordolli Crítica musical en el País del Centenario: la construcción de un discurso nacionalista en Uruguay entre 1930 y 1950 Composers as Critics / Criticism on Composers Paulo F. de Castro Composer-Critics in Portugal in the 1930s: The Cases of Luís de Freitas Branco and Fernando Lopes Graça Vicent Minguet Entre surrealismo, Renouveau Catholique y no conformismo: la crítica musical de Olivier Messiaen (1936-1939) Teresa Cascudo Petrouchka dans la presse madrilène: la musique d Igor Stravinsky comme limite du nouveau entre 1916 et 1960 Germán Gan Quesada «Germanic Fogs» and «Mediterranean Clarity» in an Aesthetic Struggle: Spanish Music Criticism Facing Paul Hindemith s Music (1921-1936) Music Criticism and Stage Mónica Vermes The Remodeling of Rio de Janeiro (1902-1906) and Its Musical Life: Reflections on the Criticism of Oscar Guanabarino (1851-1937) Mark Pinner Criticism in the Antipodes: Gerald Marr Thompson, George de Cairos-Rego, and the Melba Grand Opera Season of 1911 Nicoletta Betta Cristina Trinchero The Teatro di Torino (1925-1930): Synergy between Patronage and Music Criticism as a Means to Open a Window on Modernity under the Fascist Regime Rosa Paula Rocha Pinto «Para un mejor conocimiento peninsular»: Music Criticism and Propaganda in the Performances of the Portuguese Ballet Company Verde Gaio in Barcelona and Madrid (1943) New Perspectives on Music (and Critical) Repertoires Beatrix Darmstädter The Revival of Early Music in Austrian Music Criticism: An Overview Maria Fuchs Silent Film Music in the Weimar Republic: Its Reception in Contemporary Criticism by Modernist Composers Davide Ceriani «Under the Florentine Sky, with the Clarity of Latin Thought»: Italian Music Critics and the 1934 Meeting. N° de ref. del artículo ca3167
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