Debussy's critics sound, affect, and the experience of modernism

Following the premiere of Pellâeas et Mâelisande 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 sou...

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Bibliographic Details
Main Author: Kieffer, Alexandra
Format: eBook
Language:English
Published: New York, NY Oxford University Press 2019, 2019
Series:Oxford scholarship online / Oxford scholarship online
Subjects:
Online Access:
Collection: Oxford University Press - Collection details see MPG.ReNa
Description
Summary:Following the premiere of Pellâeas et Mâelisande 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
Item Description:Previously issued in print: 2019
Physical Description:1 online resource
ISBN:9780190947224