Debussy's critics sound, affect, and the experience of modernism
Following the premiere of Pelléas et Mélisande in 1902, Debussy's supporters, attempting to explain the opera's novelty, turned away from a music aesthetics that gave primacy to inner emotion and toward an aesthetics oriented instead toward listening, sensation and the materiality of sound...
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| Format: | eBook |
| Language: | English |
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New York, NY
Oxford University Press
2019, 2019
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| Series: | Oxford scholarship online / Oxford scholarship online
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| Online Access: | |
| Collection: | Oxford University Press - Collection details see MPG.ReNa |
| Summary: | Following the premiere of Pelléas et Mélisande in 1902, Debussy's supporters, attempting to explain the opera's novelty, turned away from a music aesthetics that gave primacy to inner emotion and toward an aesthetics oriented instead toward listening, sensation and the materiality of sound. Over the following decade, critics Jean Marnold and Louis Laloy, drawing from a wide swath of early-20th-century intellectual culture that included empirical psychology and post-Helmholtzian acoustics, were particularly influential as defenders of the ostensibly scientifically valid nature of Debussy's innovations as well as his historical importance. This text examines the decline of debussysme as standards of aesthetic value shifted toward the abstract and universal |
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| Item Description: | Previously issued in print: 2019 |
| Physical Description: | 1 online resource |
| ISBN: | 9780190947224 |