9783031982606 - European Perspectives on the New Objectivity Movement: Entanglements of Music, Poetics, and Ideas in the Interwar Years (16 risultati)

Condizione: As New. Unread book in perfect condition.

Condizione: New.

Condizione: New.

Condizione: As New. Unread book in perfect condition.

Condizione: New. 2025. hardcover. . . . . .

Condizione: New.

Condizione: New. 2025. hardcover. . . . . . Books ship from the US and Ireland.

Hardcover. Condizione: Brand New. 300 pages. 8.27x5.83x8.27 inches. In Stock.

Buch. Condizione: Neu. This item is printed on demand - it takes 3-4 days longer - Neuware -This edited volume offers a new perspective on the new objectivity movement in music during the interwar period, challenging the view of it as a solely German or Berlin-based movement. Unlike architecture or visual arts, musicology has rarely applied the term beyond Germany. Yet, new objectivity in music spanning composition, performance, and listening had significant European expressions. Key features included a rejection of expressionism, interest in mechanical reproduction (radio, gramophone), and objective performance styles. Through historiographical analysis and diverse case studies from several European countries, the book presents the movement as a broader, locally rooted phenomenon reflecting a shared Zeitgeist. It explores how these ideas emerged independently across national contexts, offering new insights into the cultural and political dynamics of the period. By examining aesthetic, institutional, political, and performative dimensions, the book invites a rethinking of new objectivity as a transnational and multifaceted phenomenon, and proposes its relevance as a tool for historiographical inquiry in music studies. 332 pp. Englisch.

Hardcover. Condizione: new. Hardcover. This edited volume offers a new perspective on the new objectivity movement in music during the interwar period, challenging the view of it as a solely German or Berlin-based movement. Unlike architecture or visual arts, musicology has rarely applied the term beyond Germany. Yet, new objectivity in musicspanning composition, performance, and listeninghad significant European expressions. Key features included a rejection of expressionism, interest in mechanical reproduction (radio, gramophone), and objective performance styles. Through historiographical analysis and diverse case studies from several European countries, the book presents the movement as a broader, locally rooted phenomenon reflecting a shared Zeitgeist. It explores how these ideas emerged independently across national contexts, offering new insights into the cultural and political dynamics of the period. By examining aesthetic, institutional, political, and performative dimensions, the book invites a rethinking of new objectivity as a transnational and multifaceted phenomenon, and proposes its relevance as a tool for historiographical inquiry in music studies. This edited volume offers a new perspective on the new objectivity movement in music during the interwar period, challenging the view of it as a solely German or Berlin-based movement. This item is printed on demand. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condizione: new. Hardcover. This edited volume offers a new perspective on the new objectivity movement in music during the interwar period, challenging the view of it as a solely German or Berlin-based movement. Unlike architecture or visual arts, musicology has rarely applied the term beyond Germany. Yet, new objectivity in musicspanning composition, performance, and listeninghad significant European expressions. Key features included a rejection of expressionism, interest in mechanical reproduction (radio, gramophone), and objective performance styles. Through historiographical analysis and diverse case studies from several European countries, the book presents the movement as a broader, locally rooted phenomenon reflecting a shared Zeitgeist. It explores how these ideas emerged independently across national contexts, offering new insights into the cultural and political dynamics of the period. By examining aesthetic, institutional, political, and performative dimensions, the book invites a rethinking of new objectivity as a transnational and multifaceted phenomenon, and proposes its relevance as a tool for historiographical inquiry in music studies. This edited volume offers a new perspective on the new objectivity movement in music during the interwar period, challenging the view of it as a solely German or Berlin-based movement. This item is printed on demand. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.

Buch. Condizione: Neu. This item is printed on demand - Print on Demand Titel. Neuware -This edited volume offers a new perspective on the new objectivity movement in music during the interwar period, challenging the view of it as a solely German or Berlin-based movement. Unlike architecture or visual arts, musicology has rarely applied the term beyond Germany. Yet, new objectivity in musicspanning composition, performance, and listeninghad significant European expressions. Key features included a rejection of expressionism, interest in mechanical reproduction (radio, gramophone), and objective performance styles. Through historiographical analysis and diverse case studies from several European countries, the book presents the movement as a broader, locally rooted phenomenon reflecting a shared Zeitgeist. It explores how these ideas emerged independently across national contexts, offering new insights into the cultural and political dynamics of the period. By examining aesthetic, institutional, political, and performative dimensions, the book invites a rethinking of new objectivity as a transnational and multifaceted phenomenon, and proposes its relevance as a tool for historiographical inquiry in music studies.Springer-Verlag GmbH, Tiergartenstr. 17, 69121 Heidelberg 348 pp. Englisch.

Condizione: New. Print on Demand.

Buch. Condizione: Neu. nach der Bestellung gedruckt Neuware - Printed after ordering - This edited volume offers a new perspective on the new objectivity movement in music during the interwar period, challenging the view of it as a solely German or Berlin-based movement. Unlike architecture or visual arts, musicology has rarely applied the term beyond Germany. Yet, new objectivity in music spanning composition, performance, and listening had significant European expressions. Key features included a rejection of expressionism, interest in mechanical reproduction (radio, gramophone), and objective performance styles. Through historiographical analysis and diverse case studies from several European countries, the book presents the movement as a broader, locally rooted phenomenon reflecting a shared Zeitgeist. It explores how these ideas emerged independently across national contexts, offering new insights into the cultural and political dynamics of the period. By examining aesthetic, institutional, political, and performative dimensions, the book invites a rethinking of new objectivity as a transnational and multifaceted phenomenon, and proposes its relevance as a tool for historiographical inquiry in music studies.

Condizione: New. PRINT ON DEMAND.

Hardcover. Condizione: new. Hardcover. This edited volume offers a new perspective on the new objectivity movement in music during the interwar period, challenging the view of it as a solely German or Berlin-based movement. Unlike architecture or visual arts, musicology has rarely applied the term beyond Germany. Yet, new objectivity in musicspanning composition, performance, and listeninghad significant European expressions. Key features included a rejection of expressionism, interest in mechanical reproduction (radio, gramophone), and objective performance styles. Through historiographical analysis and diverse case studies from several European countries, the book presents the movement as a broader, locally rooted phenomenon reflecting a shared Zeitgeist. It explores how these ideas emerged independently across national contexts, offering new insights into the cultural and political dynamics of the period. By examining aesthetic, institutional, political, and performative dimensions, the book invites a rethinking of new objectivity as a transnational and multifaceted phenomenon, and proposes its relevance as a tool for historiographical inquiry in music studies. This edited volume offers a new perspective on the new objectivity movement in music during the interwar period, challenging the view of it as a solely German or Berlin-based movement. This item is printed on demand. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.