01016nam--2200361---450-99000235126020331620090107102130.0000235126USA01000235126(ALEPH)000235126USA0100023512620050112d1973----km-y0itay0103----baengUS||||||||001yyPrinciples of data processingRobert A. Stern, Nancy B. SternNew YorkWiley1973XII, 640 p.ill.24 cm20012001001-------2001303.4STERN,Robert A.10574STERN,Nancy B.109532ITsalbcISBD990002351260203316303.4 STE 1 (IRA 3 47)20027 E.C.IRA 300010437BKECOSIAV71020050112USA011230RSIAV29020090107USA011021Principles of data processing1062652UNISA03711nam 22006375 450 991025508690332120240809141750.09783319582627331958262310.1007/978-3-319-58262-7(CKB)4100000001382211(DE-He213)978-3-319-58262-7(MiAaPQ)EBC5205530(Perlego)3493482(EXLCZ)99410000000138221120171219d2017 u| 0engurnn|008mamaatxtrdacontentcrdamediacrrdacarrierMusical Modernism and German Cinema from 1913 to 1933 /by Francesco Finocchiaro1st ed. 2017.Cham :Springer International Publishing :Imprint: Palgrave Macmillan,2017.1 online resource (XIX, 259 p. 7 illus.) 9783319582610 3319582615 Includes bibliographical references and index.1. Introduction: The cinematic paradigm -- 2. Prologue. Cinema and the arts -- 3. Cinema and expressionist drama -- 4. Paul Hindemtih and the cinematic universe --  5. Edmund Meisel: the cinematic composer.- 6. Der Rosenkavalier: a problematic remediation --  7. Cinema and musical theatre: Kurt Weill and the Filmmusik in Royal Palace.- 8. Alban Berg, Lulu and cinema as artifice.-  9. New Objectivity and abstract cinema.- 10. Between film music and chamber music -- 11. Epilogue. The dawn of sound cinema. .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.Motion picturesTelevision broadcastingMusicEthnologyEuropeCultureCivilizationHistoryFilm and Television StudiesMusicEuropean CultureCultural HistoryMotion pictures.Television broadcasting.Music.EthnologyCulture.CivilizationHistory.Film and Television Studies.Music.European Culture.Cultural History.791.4Finocchiaro Francescoauthttp://id.loc.gov/vocabulary/relators/aut211115BOOK9910255086903321Musical Modernism and German Cinema from 1913 to 19332533308UNINA