This book provides new critical insights into Spanish musical, artistic, and literary works produced between the concluding years of the nineteenth century and the initial decades of the twentieth century. Fernandez-Escarzaga creates a conceptual map to assist in comprehending the multifarious aesthetic particularities of Spain at the turn of the century. The argument proceeds from two main musical works which share concepts based in art and literature: the opera Els Pirineus by Felipe Pedrell (1841 - 1922) and the Goyescas piano suite by Enrique Granados (1867 - 1916). Utilizing the philosophy of Jose Ortega y Gasset (1883 - 1955) allows an understanding of how multiple cultural and compositional threads tie these works together. This methodological process challenges several long-held notions concerning the idea of Spain in music and the relation between music and philosophy, and therefore broadens existing debates on Spanish modernist music. This book will be of interest not only to music scholars but also those involved in art, literature, and philosophy.
Rezensionen / Stimmen
This is one of the most intellectually sophisticated and conceptually significant books on Spanish music, and it will be of interest not only to music scholars but also those interested in art, literature, and philosophy. It persuasively challenges several long-held notions concerning the relationship between Spanish music and philosophy; however, what further impresses the reader are the author's literary flair and ability to convey the complexities of this subject with verbal nuance.
Professor Walter Aaron Clark, University of California, Riverside.
Amanda Garcia Fernandez-Escarzaga has written a fine and extremely well-documented study of Felipe Pedrell's Els Pirineus and Enrique Granados's Goyescas, which she places within their historical and cultural context. Instead of reading them from a purely musical standpoint, she explores both works vis-a-vis Spanish modernist art, literature, and philosophy. This interdisciplinary approach proves to be extremely fruitful: in addition to providing a thorough and expert analysis of those two musical pieces, by placing music at the forefront of cultural discussion Garcia Fernandez-Escarzaga offers an original and persuasive account of the "broken mosaic" of Spanish modernism.
Professor Nil Santianez, Saint Louis University Research Institute. Author of Wittgenstein's Ethics and Modern Warfare.
Reihe
Sprache
Verlagsort
Verlagsgruppe
Zielgruppe
Für höhere Schule und Studium
Postgraduate and Undergraduate Advanced
Illustrationen
123 s/w Abbildungen, 21 s/w Photographien bzw. Rasterbilder, 102 s/w Zeichnungen
102 Line drawings, black and white; 21 Halftones, black and white; 123 Illustrations, black and white
Maße
Höhe: 234 mm
Breite: 156 mm
ISBN-13
978-1-032-93802-8 (9781032938028)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Klassifikation
Amanda Garcia Fernandez-Escarzaga is a musicologist, pianist, and writer with an academic background spanning multiple institutions. She holds a degree in Music from the University of Aberdeen, an MA in Musicology from the University of Bristol, and an MA in Spanish and Latin-American Musicology from the Universidad Complutense Madrid. She completed her PhD at Royal Holloway, University of London. Currently an independent researcher, her interdisciplinary work explores the intersections of philosophy, technology, music, art, and literature, contributing new perspectives to the study of these fields.
Section One: Musical Foundations and Cultural Perspectives 1. Introduction to Els Pirineus: Circumstance and Historical Context 2. Contradiction and Duality: Studies in Surface and Depth 3. Fracture as Musical Language: The Profound Dimension 4. Myth and Reality in Musical Form: Explorations of Ratiovitalism and Monotony 5. Prismatic Music: Theoretical Foundations and Analysis Section Two: Aesthetic Conflict and Musical Recreation 6. Musical Fragmentation and Memory: Identities in El Amor y la Muerte 7. Popular Recreation in Musical Form: Los Requiebros and La Maja y el Ruisenor 8. Dehumanization Through Musical Games: El Fandango, Serenata, and El Pelele
