Carte Performing Pain Maria Cizmic

Performing Pain

Autor: Maria Cizmic
Limbă: engleză
Legare: Copertă tare
Disponibilitate: În depozitul extern
Expediem în 10-18 zile
548.16 lei
Again and again people turn to music in order to assist them make sense of traumatic life events. Mu...

Informații despre carte

Autor
Limbă
engleză
Legare
Carte - Copertă tare
Publicat
2012
Pagini
256
EAN
9780199734603
ISBN
0199734607
Enbook ID
01324219
Greutate
474
Dimensiuni
171 x 244 x 23

Descriere completă

Again and again people turn to music in order to assist them make sense of traumatic life events. Music can help process emotions, interpret memories, and create a sense of collective identity. While the last decade has seen a surge in academic studies on trauma and loss in both the humanities and social sciences, how music engages suffering has not often been explored. Performing Pain uncovers music's relationships to trauma and grief by focusing upon the late 20th century in Eastern Europe. The 1970s and 1980s witnessed a cultural preoccupation with the meanings of historical suffering, particularly surrounding the Second World War and the Stalinist era. Journalists, historians, writers, artists, and filmmakers repeatedly negotiated themes related to pain and memory, truth and history, morality and spirituality both during glasnost and the years prior. In the copious amount of scholarship devoted to cultural politics during this era, the activities of avant-garde composers stands largely silent. Performing Pain considers how works by Alfred Schnittke, Galina Ustvolskaya, Arvo Part, and Henryk Gorecki musically address contemporary concerns regarding history and suffering through composition, performance, and reception. Drawing upon theories from psychology, sociology, literary and cultural studies, this book offers a set of hermeneutic essays that demonstrate the ways in which people employ music in order to make sense of historical traumas and losses. Seemingly postmodern compositional choices--such as quotation, fragmentation, and stasis--provide musical analogies to psychological and emotional responses to trauma and grief. The physical realities of embodied performance focus attention on the ethics of pain and representation while these works' inclusion as film music interprets contemporary debates regarding memory and trauma. Performing Pain promises to garner wide attention from academic professionals in music studies as well as an interdisciplinary audience interested in Eastern Europe and aesthetic articulations of suffering.

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