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Qu'elle permette d'oublier les horreurs vecues, de donner du courage aux soldats et a leur famille, de souder une nation face a l'ennemi, d'accompagner la memoire des disparus et de reconforter les survivants, la musique a occupe une place importante durant la Grande Guerre. Inscrit dans une dynamique de recherche scientifique, ce livre propose des enquetes originales sur la vie musicale au front et a l'arriere. Centre sur la creation artistique, il apporte des eclairages inedits, notamment sur la facon dont les compositeurs et les interpretes ont vecu leur art dans un moment aussi critique de

War songs --- World War, 1914-1918 --- Music --- Chansons de guerre --- Première guerre mondiale --- Musique --- History and criticism. --- Songs and music --- Music and the war --- History and criticism --- Histoire et critique --- Chants et musique --- Musique et guerre --- Guerre mondiale (1914-1918) --- Vie musicale --- Popular music -- England. --- War songs -- England. --- World War, 1939-1945 -- Songs and music, English. --- Music, Dance, Drama & Film --- Printed Music, Vocal --- muziektheorie --- muziekpedagogiek --- Eerste Wereldoorlog --- France --- Première guerre mondiale --- Histoire et critique. --- 78.29.1 --- 78.28.1 --- 78.45.9 --- Musique et guerre. --- World War, 1914-1918 - Music and the war --- Creatie --- Muziekleven --- Frankrijk --- 20e eeuw

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Exploring the crossroads between autobiographical narrative and musical composition, this book examines Berg's transformation of Frank Wedekind's Erdgeist (1895) and Die Büchse der Pandora (1904) -- the plays used inthe formation of the libretto for Lulu -- according to notions of gender identity, social customs, and the aesthetics of modernity in Vienna of the 1920s and 1930s. While Berg modernized several aspects of the plays by Wedekind and incorporated serial techniques of composition from Arnold Schoenberg, he never let go of the idealistic Wagnerian perspectives of his youth. In fact, he went as far as reconfiguring aspects of Richard Wagner's life as anideal identity to be played out in the compositional process. In the process of composing the opera, Berg also reflected on the most important cultural figures in fin-de-siècle Vienna that affected his worldview, including Karl Kraus, Emil Lucka, Otto Weininger, and others. Adopting an approach that combines a systematic analysis of Berg's numerous sketches for Lulu, correspondence, and the finished work with interpretive models drawn from cultural studies and philosophy, this book elucidates the ways in which Berg grappled with his self-image as an "incorrigible romantic" (unverbesserliche Romantiker) at the end of his life, explaining aspects of his musical language that have been considered strange or anomalous in the scholarship. Silvio J. dos Santos is assistant professor of musicology at the University of Florida.

Berg, Alban, --- Wagner, Richard, --- Wagner, Wilhelm Richard, --- Drach, Wilhelm, --- Fājner, Rītshārd, --- Vāgners, Richards, --- Vagner, Rikhard, --- Vagner, R. --- Wagner, R. --- Wagunā, R., --- Vagneri, Rihard, --- Wagner, Riccardo, --- ואגנר, ריכארד, --- ואגנר, ריכרד, --- Criticism and interpretation. --- Rezeption --- HISTORY --- MUSIC --- Austria & Hungary. --- Printed Music --- Vocal. --- Lyrics. --- Instruction & Study --- Voice. --- Lulu (Berg, Alban) --- Fortwirken --- Nachwirkung --- Nachleben --- Wirkungsgeschichte --- Aneignung --- Auswirkung --- Fortleben --- 1920s. --- 1930s. --- Alban Berg. --- Autobiographical narratives. --- Emil Lucka. --- Gender identity. --- Identity. --- Karl Kraus. --- Lulu. --- Musical composition. --- Narratives. --- Otto Weininger. --- Personal experiences. --- Richard Wagner. --- Social customs. --- Vienna.