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Beyond Structural Listening?Postmodern Modes of Hearing$
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Andrew Dell'Antonio

Print publication date: 2004

Print ISBN-13: 9780520237575

Published to California Scholarship Online: May 2012

DOI: 10.1525/california/9780520237575.001.0001

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PRINTED FROM CALIFORNIA SCHOLARSHIP ONLINE (www.california.universitypressscholarship.com). (c) Copyright University of California Press, 2019. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CALSO for personal use.date: 17 September 2019

Passion/mirrors (A Passion For the Violent Ineffable: Modernist Music and the Angel/in the Hall of Mirrors)

Passion/mirrors (A Passion For the Violent Ineffable: Modernist Music and the Angel/in the Hall of Mirrors)

Chapter:
(p.154) Five Passion/mirrors (A Passion For the Violent Ineffable: Modernist Music and the Angel/in the Hall of Mirrors)
Source:
Beyond Structural Listening?
Author(s):

Andrew Dell'Antonio

Publisher:
University of California Press
DOI:10.1525/california/9780520237575.003.0006

This chapter is about subjective hearing of a particular body of music. It also discusses the subjectivity of writing this chapter and the various personal and social contexts that led to its creation. The difficult musical products of modernism represent experiments in organization, transformation, and sound which lead to an unavoidable impression of violence, chaos, and attempts to stretch human perception. The chapter identifies the various metaphors of destruction, collapse, and transcendence in such modernist musical works of composers like Barraqué, Boulez, and Maxwell Davies, which forces the listener to imagine a world beyond the known. Here the chapter provides an analogy of Blomdahl's opera Aniara, based on Harry Martinson's poem cycle whose freezingly cold and distant sound suggests the emotionless intentionless passage of pchapters through empty space.

Keywords:   subjective hearing, modernism, human perception, Aniara, modernist musical works

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