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101 0 $aeng
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181 $ctxt$2rdacontent
182 $cc$2rdamedia
183 $acr$2rdacarrier
200 10$aMusic into fiction $ecomposers writing, compositions imitated /$fTheodore Ziolkowski$b[electronic resource]
210 1$aRochester, NY :$cCamden House,$d2017.
215 $a1 online resource (xi, 248 pages) $cdigital, PDF file(s)
225 1 $aStudies in German literature, linguistics, and culture
300 $aTitle from publisher's bibliographic system (viewed on 02 Jun 2017).
311 $a1-57113-973-7
320 $aIncludes bibliographical references and index.
327 $aPreface -- Prelude: Introduction. First movement: Composers writing. Weber and Hoffmann -- Berlioz and Schumann -- Wagner -- Transition: Nietzsche and the post-Wagnerians. Burgess -- Second movement: compositions imitated. Compositional forms -- Specific compositions -- Finale: composers setting fictional compositions. Leverkuhn's compositions -- Coda: Conclusion.
330 $aThis book deals with three aspects that have been neglected in the burgeoning field of music and literature. The "First Movement" of the book considers writers from German Romanticism to the present who, like Robert Schumann, first saw themselves as writers before they turned to composition, or, like E. T. A. Hoffmann and Anthony Burgess, sought careers in music before becoming writers. It also considers the few operatic composers, such as Richard Wagner and Arnold Schoenberg, who wrote their own libretti. The "Second Movement" turns to literary works based specifically on musical compositions. This group includes, first and more generally, prose works whose author chose a specific musical form such as sonata or fugue as an organizational model. And second, it includes novels based structurally or thematically on specific compositions, such as Bach's Goldberg Variations. The "Finale" concludes with a unique case: efforts by modern composers to render musically the compositions described in detail by Thomas Mann in his novel Doktor Faustus. This book, which addresses itself to readers interested generally in music and literature and is written in a reader-friendly style, draws attention to unexplored dimensions of the music-literature relationship and to the sometimes unrecognized talents of certain writers and composers.
Theodore Ziolkowski is ProfessorEmeritus of German and Comparative Literature, Princeton University.
410 0$aStudies in German literature, linguistics, and culture.
606 $aMusic and literature
606 $aMusicians as authors
610 $aGerman literature.
610 $aGerman music.
610 $acomparative literature.
610 $amoden composers.
610 $amusic and literature.
610 $amusic composition.
610 $amusic theory.
610 $amusicology.
610 $aromanticism.
610 $ascholarship.
615 0$aMusic and literature.
615 0$aMusicians as authors.
676 $a780/.08
700 $aZiolkowski$b Theodore$0175033
801 0$bUkCbUP
801 1$bUkCbUP
906 $aBOOK
912 $a9910162772403321
996 $aMusic into fiction$92787739
997 $aUNINA