TY - BOOK ID - 31384702 TI - Musical Modernism and German Cinema from 1913 to 1933 PY - 2017 SN - 3319582623 3319582615 PB - Cham : Springer International Publishing : Imprint: Palgrave Macmillan, DB - UniCat KW - Motion pictures and music. KW - Motion pictures KW - History KW - Moving-pictures and music KW - Music and motion pictures KW - Music KW - Motion pictures and television. KW - Music. KW - Ethnology-Europe. KW - Civilization-History. KW - Screen Studies. KW - European Culture. KW - Cultural History. KW - Art music KW - Art music, Western KW - Classical music KW - Musical compositions KW - Musical works KW - Serious music KW - Western art music KW - Western music (Western countries) KW - Moving-pictures and television KW - Television and motion pictures KW - Television KW - Ethnology—Europe. KW - Civilization—History. UR - https://www.unicat.be/uniCat?func=search&query=sysid:31384702 AB - This book investigates the relationship between musical Modernism and German cinema. It paves the way for anunorthodox path of research, one which has been little explored up until now. The main figures of musical Modernism, from Alban Berg to Paul Hindemith, and from Richard Strauss to Kurt Weill, actually had a significant relationship with cinema. True, it was a complex and contradictory relationship in which cinema often emerged more as an aesthetic point of reference than an objective reality; nonetheless, the reception of the language and aesthetic of cinema had significant influence on the domain of music. Between 1913 and 1933, Modernist composers’ exploration of cinema reached such a degree of pervasiveness and consistency as to become a true aesthetic paradigm, a paradigm that sat at the very heart of the Modernist project. In this insightful volume, Finocchiaro shows that the creative confrontation with the avant-garde medium par excellence can be regarded as a vector of musical Modernism: a new aesthetic paradigm for the very process – of deliberate misinterpretation, creative revisionism, and sometimes even intentional subversion of the Classic-Romantic tradition – which realized the “dream of Otherness” of the Modernist generation. ER -