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Musical poetics and political ideolo...

Durazzi, Bruce John.

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Musical poetics and political ideology in the work of Luigi Nono (Italy).

Record Type:	Electronic resources : Monograph/item
Title/Author:	Musical poetics and political ideology in the work of Luigi Nono (Italy)./
Author:	Durazzi, Bruce John.
Description:	251 p.
Notes:	Source: Dissertation Abstracts International, Volume: 66-03, Section: A, page: 0809.
Contained By:	Dissertation Abstracts International66-03A.
Subject:	Music. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3168882
ISBN:	0542048396

Musical poetics and political ideology in the work of Luigi Nono (Italy).
Durazzi, Bruce John.

Musical poetics and political ideology in the work of Luigi Nono (Italy). - 251 p.

Source: Dissertation Abstracts International, Volume: 66-03, Section: A, page: 0809.

Thesis (Ph.D.)--Yale University, 2005.

Luigi Nono (1924--1990) came to prominence as a member of the European avant-garde in the 1950s, and he was also an active member of the Italian Communist Party. Throughout his career, he not only reconciled these seemingly contradictory commitments, but he insisted that his methods of composition and his political beliefs were of a piece. Beyond his frequent choice of politically provocative texts, Nono claimed that an ideological impulse motivated his work at the level of technical detail. His argument proceeds from the immanent formal properties of his music, much like Theodor W. Adorno's critique of the Second Viennese School. With all of Nono's sketches now available at the Archivio Luigi Nono in Venice, it is possible to anatomize the composer's working method in considerable detail, and thus to discover exactly what elements of technique were shaped by social or political ideas. The central aim of the dissertation is to investigate the relationship between Nono's musical poetics and his political commitments, and to propose a mode of analysis sympathetic to the composer's avowed motivations.

ISBN: 0542048396Subjects--Topical Terms:

516178
Music.

Musical poetics and political ideology in the work of Luigi Nono (Italy).
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100 1 $a Durazzi, Bruce John. $3 1902023
245 1 0 $a Musical poetics and political ideology in the work of Luigi Nono (Italy).
300 $a 251 p.
500 $a Source: Dissertation Abstracts International, Volume: 66-03, Section: A, page: 0809.
500 $a Director: Robert P. Morgan.
502 $a Thesis (Ph.D.)--Yale University, 2005.
520 $a Luigi Nono (1924--1990) came to prominence as a member of the European avant-garde in the 1950s, and he was also an active member of the Italian Communist Party. Throughout his career, he not only reconciled these seemingly contradictory commitments, but he insisted that his methods of composition and his political beliefs were of a piece. Beyond his frequent choice of politically provocative texts, Nono claimed that an ideological impulse motivated his work at the level of technical detail. His argument proceeds from the immanent formal properties of his music, much like Theodor W. Adorno's critique of the Second Viennese School. With all of Nono's sketches now available at the Archivio Luigi Nono in Venice, it is possible to anatomize the composer's working method in considerable detail, and thus to discover exactly what elements of technique were shaped by social or political ideas. The central aim of the dissertation is to investigate the relationship between Nono's musical poetics and his political commitments, and to propose a mode of analysis sympathetic to the composer's avowed motivations.
520 $a After a general introduction in Chapter One, Chapter Two lays out the historical and philosophical contexts for the relationship between musical modernism and politics, drawing both on Nono's writings and those of other key figures in twentieth-century musical aesthetics. Chapter Three is a close study of Incontri (1955), whose form proves to be a musical model of materialist dialectics. Chapter Four analyzes Canti di vita e d'amore (1962), a work in which both the texts and the musical processes take on a distinctly hortatory tone. Das atmende Klarsein (1981), considered in Chapter Five, proves to be a much more introspective work, but the disposition of its musical material enacts a kind of immanent social statement similar to those made more explicitly in the earlier works. Close study reveals a highly coherent and self-consistent logic in the relationship between Nono's compositional method and his political aims for his music. Chapter Six summarizes these findings and proposes some new critical challenges.
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790 1 0 $a Morgan, Robert P., $e advisor
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