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LEADER 03176cam a2200433Ma 4500

001 ocm77257557;

003 OCoLC;

005 20200806105745.0;

008 060626s2007 nyuag b 001 0 eng d;

020 a| 9781580462136q| (hbk.);

020 a| 1580462138q| (hbk.);

035 a| (Sirsi) o77257557;

035 a| (OCoLC)77257557;

049 a| EREM;

050 14 a| ML410.S3b| M4721 2006;

082 04 a| 780.922| 22;

100 1 a| Messing, Scott.=| ^A221595;

245 10 a| Schubert in the European imagination.n| Vol. 2,p| Fin-de-Siècle Vienna /c| Scott Messing.;

246 30 a| Fin-de-Siècle Vienna;

264 2 a| Woodbridge :b| Boydell & Brewer;

300 a| xii, 315 pages :b| illustrations, music ;c| 23 cm.;

336 a| textb| txt2| rdacontent;

337 a| unmediatedb| n2| rdamedia;

338 a| volumeb| nc2| rdacarrier;

490 1 a| Eastman studies in music;

504 a| Includes bibliographical references (pages 273-300) and index.;

505 00 t| Political culture and Schubert's Stadtpark monument --g| 1897: the politics of a Schubert year --t| Gustav Klimt's Schubert --t| Schubert and Jung-Wien: Arthur Schnitzler and Hugo von Hofmannsthal --t| Schubert, modernism, and the Fin-de-Siècle science of sexuality --t| Peter Altenberg's Schubert --t| Arnold Schoenberg's Schubert.;

520 a| This book examines the composer's historical and cultural reception by Viennese modernists. By 1900, issues of gender had crossed with those of nationalism, especially in thecity that came to consider Schubert as its favorite musical son. As the author here explains and explores in rich detail, composers, writers, and visual artists manipulated the conventions of the composer and gender in ways that critiqued the very culture that had created this image. In order to expose the hypocrisy of social relationships, painter Gustav Klimt and writers Arthur Schnitzler, Hugo von Hofmannsthal, and Peter Altenberg exploited the collision between innocence and sexuality, and Schubert was a readily familiar sign for the former. The composer Arnold Schoenberg substituted his own formulation of Schubert in place of the older, popular conceptions of the composer, adding him to an illustrious list of figures whose significance he sought to redesign. The concept of Schubert as a feminine type began in 1838. This work examines the historical reception of Schubert as conveyed through the gendered imagery and language of 19th and early 20th century European culture. The figures discussed include Musset, Sand, Nerval, Maupassant, George Eliot, and others.;

600 10 a| Schubert, Franz,d| 1797-1828.=| ^A21518;

650 0 a| Gender identity in music.=| ^A402506;

650 0 a| Music in art.=| ^A17543;

650 0 a| Music in literature.=| ^A125670;

830 0 a| Eastman studies in music.=| ^A494093;

994 a| C0b| ERE;

596 a| 3;

998 a| 5266689;

999 a| ML410.S3 M4721 2006w| LCc| 1i| 30372017171932f| 3/12/2024g| 1l| MSTm| JMUSICr| Ys| Yt| MGESBKu| 6/26/2020x| BOOKz| MCIRCo| .STAFF. jjab; enhanced 5/4/22 -jjab;

Schubert in the European imagination. / Scott Messing.

Author/creator	Messing, Scott
Format	Book
Publication	Rochester, NY : University of Rochester Press, ©2007.
Distribution	Woodbridge : Boydell & Brewer
Description	xii, 315 pages : illustrations, music ; 23 cm.
Subjects	Schubert, Franz, 1797-1828. Gender identity in music. Music in art. Music in literature.

Portion of title	Fin-de-Siècle Vienna
Series	Eastman studies in music Eastman studies in music. ^A494093
Contents	Political culture and Schubert's Stadtpark monument -- 1897: the politics of a Schubert year -- Gustav Klimt's Schubert -- Schubert and Jung-Wien: Arthur Schnitzler and Hugo von Hofmannsthal -- Schubert, modernism, and the Fin-de-Siècle science of sexuality -- Peter Altenberg's Schubert -- Arnold Schoenberg's Schubert.
Abstract	This book examines the composer's historical and cultural reception by Viennese modernists. By 1900, issues of gender had crossed with those of nationalism, especially in thecity that came to consider Schubert as its favorite musical son. As the author here explains and explores in rich detail, composers, writers, and visual artists manipulated the conventions of the composer and gender in ways that critiqued the very culture that had created this image. In order to expose the hypocrisy of social relationships, painter Gustav Klimt and writers Arthur Schnitzler, Hugo von Hofmannsthal, and Peter Altenberg exploited the collision between innocence and sexuality, and Schubert was a readily familiar sign for the former. The composer Arnold Schoenberg substituted his own formulation of Schubert in place of the older, popular conceptions of the composer, adding him to an illustrious list of figures whose significance he sought to redesign. The concept of Schubert as a feminine type began in 1838. This work examines the historical reception of Schubert as conveyed through the gendered imagery and language of 19th and early 20th century European culture. The figures discussed include Musset, Sand, Nerval, Maupassant, George Eliot, and others.
Bibliography note	Includes bibliographical references (pages 273-300) and index.
ISBN	9781580462136 (hbk.)
ISBN	1580462138 (hbk.)

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Library	Location	Call Number	Status	Item Actions
Music	Music Stacks	ML410.S3 M4721 2006	✔ Available	Place Hold

Schubert in the European imagination. / Scott Messing.

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