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By Josh Epstein

When Stravinsky’s Rite of Spring premiered in Paris in 1913, the gang rioted in accordance with the cruel dissonance and jarring rhythms of its rating. This was once noise, now not tune. In Sublime Noise, Josh Epstein examines the importance of noise in modernist song and literature. How―and why―did composers and writers include the noises of recent undefined, war, and big-city lifestyles into their work?

Epstein argues that, because the inventive type engaged with the racket of cityscapes and new media, they reconsidered not only the classy of track but additionally its cultural results. Noise, in spite of everything, is greater than a sonic class: it's a cultural price judgment―a manner of abating and categorizing the sounds of a social house or of latest tune. Pulled into discussion with glossy music’s leading edge rhythms, noise signaled the breakdown of art’s autonomy from social life―even the "old favorites" of Beethoven and Wagner took on new cultural meanings whilst circulated in noisy smooth contexts. using noise additionally spread out the closed area of artwork to the pressures of exposure and technological mediation.

Building either on literary cultural stories and paintings within the "new musicology," Sublime Noise examines the wealthy fabric courting that exists among song and literature. via shut readings of modernist authors, together with James Joyce, T. S. Eliot, Edith Sitwell, E. M. Forster, and Ezra Pound, and composers, together with George Antheil, William Walton, Erik Satie, and Benjamin Britten, Epstein bargains a significantly modern account of musical-literary interactions that is going well past natural formalism. This publication may be of curiosity to students of Anglophone literary modernism and to musicologists drawn to how tune was once given new literary and cultural that means in the course of that advanced interdisciplinary period.

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118 Pound and the Noise of Impressionism......................................................... 126 Time shuttle: Futurism, Primitivism, and Ballet Mécanique ........................ 134 methods of Time: a quick Excursus on loss of life at midnight .............................. 142 iv IV. JOYCE'S PHONEYGRAPHS: NOISE, tune, AND NOISE-MUSIC FROM CHAMBER song TO ULYSSES ......................................................... 151 open air the Chamber: track and Politics..................................................... a hundred and sixty Musical Phrasemongering and function in Dubliners............................ 166 No Noiseless life: song and Musical Language in Portrait.............. 174 "Ready-Made words" and Musical Rhetoric in Ulysses ............................. 181 V. appearing exposure: AUTHENTICITY, effect, AND THE SITWELLIAN COMMEDIA .............................................................................. 197 Walton, glossy tune, and English Cosmopolitanism ............................... 210 Façade: From Noise to Rhythm.................................................................... 216 Bernays, the Ballets Russes, and the Aesthetics of Publicity........................ 218 The Parade in the back of the Façade .................................................................... 230 The occupation of character: Commedia Dell'Arte .................................... 237 "Punch and Judy Show": Sitwell on Puppetry and the Commedia ............... 246 The Sitwells, the masks, and the Russian Ballet ............................................ 250 VI. ARISTOCRACY OF THE DISSONANT: THE "SUBLIME NOISE" IN FORSTER AND BRITTEN................................................................................ 268 "A litter and a Noise": "Broadcasting" track in Forster ......................... 274 Who Shall Inherit Britten? ............................................................................ 291 Britten's Ninths: Peter Grimes, Dissonance, and the paintings of Rumor ............. 295 The Spellbinding tune of Billy Budd.......................................................... 301 AFTERWORD ................................................................................................................ 316 WORKS CITED.............................................................................................................. 323 v PREFACE Literary modernism, pushed by means of a wish to fragment after which reassemble creative shape, turns and returns to tune: a "universal language" and a provincial one; occasionally a choice to mirrored image and occasionally a decision to palms; immune to rationalization and, for that very cause, the topic of continuous inquiry. along the trendy soundscape of city site visitors, new media and recording applied sciences, and the sounds of war, the possible numinous features of song gather particular and fabric forms of value. This dissertation argues that modernist writing translates and engages with modernist song as an paintings shape with quite a number cultural and institutional results.

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