東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back to Search results for [ null ]

Switch To: Labeled | MARC Mode | ISBD

The Economics and Aesthetics of the ...

Zima, Jeremy Richard.

Linked to FindBook

Google Book

Amazon

博客來

The Economics and Aesthetics of the Early Twentieth-Century German Artist-Opera.

Record Type:	Electronic resources : Monograph/item
Title/Author:	The Economics and Aesthetics of the Early Twentieth-Century German Artist-Opera./
Author:	Zima, Jeremy Richard.
Description:	297 p.
Notes:	Source: Dissertation Abstracts International, Volume: 77-12(E), Section: A.
Contained By:	Dissertation Abstracts International77-12A(E).
Subject:	Music. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10147344
ISBN:	9781369025699

The Economics and Aesthetics of the Early Twentieth-Century German Artist-Opera.
Zima, Jeremy Richard.

The Economics and Aesthetics of the Early Twentieth-Century German Artist-Opera. - 297 p.

Source: Dissertation Abstracts International, Volume: 77-12(E), Section: A.

Thesis (Ph.D.)--The University of Wisconsin - Madison, 2016.

This dissertation examines early twentieth-century German Kunstleroper, or artist-opera, a subgenre that flourished during the economically and socially turbulent years of the Weimar Republic, only to vanish after 1933. Those who wrote these operas, in which musical or artistic creation itself provides the dramatic focal point, included high profile composers like Richard Strauss, Franz Schreker, Ernst Krenek, and others. I argue that the format offered composers a vehicle to perform their deeply felt artistic and social anxieties for audiences, taking their case for improved professional conditions and the intrinsic worth of music as a manifestation of German Kultur directly to the public. During the period covered in this dissertation, composers experienced the shock of the First World War, political revolution, hyperinflation, and the rapid evolution of modern technology and popular culture. In order to investigate how the social and economic pressures of the times influenced the writing of these operas, I go beyond the score and libretto to examine a variety of resources---contemporary periodical literature, personal and professional correspondence, and the published essays of composers and other intellectuals---to show that the Weimar period was a difficult time for composers as they struggled to gain social and economic rights in keeping with their vaunted status in the German cultural imagination. Using information gathered from archives, newspapers and trade journals I explain in Chapter One how economic difficulties encountered by composers in the years after the First World War were reflected in artist-operas of the era. In Chapters Two and Three I examine operatic forerunners of Weimar-era artist-operas and the popular literary genre of the artist-novel, demonstrating that concern over the status of composers in German society was a common literary theme of the period. Individual chapters focusing on Strauss's Intermezzo (1924), Schreker's Christophorus (1929), and Krenek's Jonny spielt auf (1927) explore the ways in which these composers used autobiography as a means to place themselves and their concerns directly before their audiences. Finally, I consider the reasons for the disappearance of the artist-opera after 1933, proposing that the positive changes promised by the Nazi government with the newly-formed Reichsmusikkammer effectively rendered the artist-opera obsolete.

ISBN: 9781369025699Subjects--Topical Terms:

516178
Music.

The Economics and Aesthetics of the Early Twentieth-Century German Artist-Opera.
LDR:03364nmm a2200301 4500 001 2116029
005 20170417092340.5
008 180830s2016 ||||||||||||||||| ||eng d
020 $a 9781369025699
035 $a (MiAaPQ)AAI10147344
035 $a AAI10147344
040 $a MiAaPQ $c MiAaPQ
100 1 $a Zima, Jeremy Richard. $3 3277713
245 1 4 $a The Economics and Aesthetics of the Early Twentieth-Century German Artist-Opera.
300 $a 297 p.
500 $a Source: Dissertation Abstracts International, Volume: 77-12(E), Section: A.
500 $a Adviser: Pamela Potter.
502 $a Thesis (Ph.D.)--The University of Wisconsin - Madison, 2016.
520 $a This dissertation examines early twentieth-century German Kunstleroper, or artist-opera, a subgenre that flourished during the economically and socially turbulent years of the Weimar Republic, only to vanish after 1933. Those who wrote these operas, in which musical or artistic creation itself provides the dramatic focal point, included high profile composers like Richard Strauss, Franz Schreker, Ernst Krenek, and others. I argue that the format offered composers a vehicle to perform their deeply felt artistic and social anxieties for audiences, taking their case for improved professional conditions and the intrinsic worth of music as a manifestation of German Kultur directly to the public. During the period covered in this dissertation, composers experienced the shock of the First World War, political revolution, hyperinflation, and the rapid evolution of modern technology and popular culture. In order to investigate how the social and economic pressures of the times influenced the writing of these operas, I go beyond the score and libretto to examine a variety of resources---contemporary periodical literature, personal and professional correspondence, and the published essays of composers and other intellectuals---to show that the Weimar period was a difficult time for composers as they struggled to gain social and economic rights in keeping with their vaunted status in the German cultural imagination. Using information gathered from archives, newspapers and trade journals I explain in Chapter One how economic difficulties encountered by composers in the years after the First World War were reflected in artist-operas of the era. In Chapters Two and Three I examine operatic forerunners of Weimar-era artist-operas and the popular literary genre of the artist-novel, demonstrating that concern over the status of composers in German society was a common literary theme of the period. Individual chapters focusing on Strauss's Intermezzo (1924), Schreker's Christophorus (1929), and Krenek's Jonny spielt auf (1927) explore the ways in which these composers used autobiography as a means to place themselves and their concerns directly before their audiences. Finally, I consider the reasons for the disappearance of the artist-opera after 1933, proposing that the positive changes promised by the Nazi government with the newly-formed Reichsmusikkammer effectively rendered the artist-opera obsolete.
590 $a School code: 0262.
650 4 $a Music. $3 516178
650 4 $a Theater. $3 522973
650 4 $a European history. $2 bicssc $3 1972904
650 4 $a Judaic studies. $3 2144743
690 $a 0413
690 $a 0465
690 $a 0335
690 $a 0751
710 2 $a The University of Wisconsin - Madison. $b Music. $3 2093364
773 0 $t Dissertation Abstracts International $g 77-12A(E).
790 $a 0262
791 $a Ph.D.
792 $a 2016
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10147344