LEADER 03783oam 2200529 450 001 9910816101003321 005 20230814221349.0 010 $a1-317-05965-4 010 $a1-315-60756-5 010 $a1-317-05964-6 024 7 $a10.4324/9781315607566 035 $a(CKB)4100000001038305 035 $a(MiAaPQ)EBC4912187 035 $a(OCoLC)1011118750 035 $a(OCoLC)1011497447 035 $a(OCoLC-P)1011497447 035 $a(FlBoTFG)9781315607566 035 $a(EXLCZ)994100000001038305 100 $a20171114d2018 uy 0 101 0 $aeng 135 $aurcnu---unuuu 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aSamuel Beckett, repetition and modern music /$fJohn McGrath 210 1$aAbingdon, Oxon ;$aNew York, NY :$cRoutledge,$d2018. 215 $a1 online resource (191 pages) $cillustrations 311 $a1-4724-7537-2 320 $aIncludes bibliographical references and index. 327 $tchapter 1 Music and literature /$r John McGrath -- $tchapter 2 Repetition in music and literature /$r John McGrath -- $tchapter 3 Musico-literary interaction in modern Ireland and the musical aesthetic of Samuel Beckett /$r John McGrath -- $tchapter 4 Beckett?s semantic fluidity -- $tRepetition in the later work /$r John McGrath -- $tchapter 5 Beckett and Feldman -- $tTime, repetition and the liminal space /$r John McGrath -- $tchapter 6 Improvising Beckett -- $tChance, silence and repetition /$r John McGrath. 330 $a"Music abounds in twentieth- century Irish literature. Whether it be the "thought-tormented" music of Joyce's "The Dead", the folk tunes and opera that resound throughout Ulysses, or the four- part threnody in Beckett's Watt, it is clear that the influence of music on the written word in Ireland is deeply significant. Samuel Beckett arguably went further than any other writer in the incorporation of musical ideas into his work. Musical quotations inhabit his texts, and structural devices such as the da capo are metaphorically employed. Perhaps most striking is the erosion of explicit meaning in Beckett's later prose brought about through an extensive use of repetition, influenced by his reading of Schopenhauer's philosophy of music. Exploring this notion of "semantic fluidity", John McGrath discusses the ways in which Beckett utilised extreme repetition to create texts that operate and are received more like music. Beckett's writing has attracted the attention of numerous contemporary composers and an investigation into how this Beckettian "musicalised fiction" has been retranslated into contemporary music forms the second half of the book. Close analyses of the Beckett- inspired music of experimental composer Morton Feldman and the structured improvisations of avantjazz guitarist Scott Fields illustrate the cross- genre appeal of Beckett to musicians, but also demonstrate how repetition operates in diverse ways. Through the examination of the pivotal role of repetition in both modernist music and literature of the twentieth century, John McGrath's book is a significant contribution to the field of Word and Music Studies."--Provided by publisher 606 $aMusic and literature 606 $aMusic$y20th century$xHistory and criticism 606 $aRepetition in literature 606 $aRepetition in music 615 0$aMusic and literature. 615 0$aMusic$xHistory and criticism. 615 0$aRepetition in literature. 615 0$aRepetition in music. 676 $a780/.082 700 $aMcGrath$b John$c(Guitarist),$0702949 801 0$bOCoLC-P 801 1$bOCoLC-P 906 $aBOOK 912 $a9910816101003321 996 $aSamuel Beckett, repetition and modern music$94122745 997 $aUNINA