LEADER 01562nam a2200409 i 4500 001 991000657599707536 005 20020507171853.0 008 950908s1994 de ||| | eng 020 $a354058692X 035 $ab10739063-39ule_inst 035 $aLE01300275$9ExL 040 $aDip.to Matematica$beng 082 0 $a516.35 084 $aAMS 14-06 084 $aAMS 14C25 084 $aAMS 14C30 084 $aAMS 14D07 084 $aAMS 19E15 084 $aAMS 32J25 100 1 $aGreen, Mark$0146485 245 10$aAlgebraic cycles and Hodge theory :$blectures given at the 2nd Session of the Centro Internazionale Matematico Estivo (C.I.M.E.) held in Torino, Italy, June 21-29, 1993 /$cM. Green, J. Murre, C. Voisin ; editors A. Albano, F. Bardelli 260 $aBerlin :$bSpringer-Verlag,$cc1994 300 $avi, 275 p. ;$c24 cm. 490 0 $aLecture notes in mathematics,$x0075-8434 ;$v1594 650 4$aAlgebraic cycles$xCongresses 650 4$aAlgebraic geometry$xCongresses 650 4$aHodge theory$xCongresses 700 1 $aMurre, Jacob P. 700 1 $aVoisin, Claire$eauthor$4http://id.loc.gov/vocabulary/relators/aut$0350778 700 1 $aAlbano, Alberto 700 1 $aBardelli, Fabio 907 $a.b10739063$b23-02-17$c28-06-02 912 $a991000657599707536 945 $aLE013 14-XX GRE11 (1966)$g1$i2013000035314$lle013$o-$pE0.00$q-$rl$s- $t0$u0$v0$w0$x0$y.i10829854$z28-06-02 996 $aAlgebraic cycles and Hodge theory$93370021 997 $aUNISALENTO 998 $ale013$b01-01-95$cm$da $e-$feng$gde $h0$i1 LEADER 05127nam 22005655 450 001 9911046529903321 005 20251119120431.0 010 $a3-031-98261-4 010 $a9783031982613 024 7 $a10.1007/978-3-031-98261-3 035 $a(CKB)43368485600041 035 $a(MiAaPQ)EBC32421550 035 $a(Au-PeEL)EBL32421550 035 $a(DE-He213)978-3-031-98261-3 035 $a(OCoLC)1565387272 035 $a(EXLCZ)9943368485600041 100 $a20251119d2025 u| 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aEuropean Perspectives on the New Objectivity Movement $eEntanglements of Music, Poetics, and Ideas in the Interwar Years /$fedited by Benedetta Zucconi, Ulrik Volgsten 205 $a1st ed. 2025. 210 1$aCham :$cSpringer Nature Switzerland :$cImprint: Palgrave Macmillan,$d2025. 215 $a1 online resource (382 pages) 225 1 $aLiterature, Cultural and Media Studies 311 08$a3-031-98260-6 327 $aPart 1-Theoretical and Historical Mappings.Chapter 1-Defamed but seized: contradictory approaches of Nazi music politics to Neue -- Chapter 2-A plurality of (metaphorical) languages: Neue Sachlichkeit under the prism of multilingualism -- Part 2:Decentering Neue Sachlichkeit -- Chapter 3-New Objectivity in interwar Catalonia: reception and influence -- Chapter4-Neue Sachlichkeit and the beginnings of modern Slovak music -- Chapter5-: Neue Sachlichkeit in Sweden? On the search for a modernist aesthetics -- Chapter6-The complexity of banality: Neo-classicism and Popular Music in Pauline Hall?s Suite for Wind Quintet -- Part 3:Institutional Foundations of Neue Sachlichkeit in Europe -- Chapter 7-The most objective music: the ascendancy of Neue Sachlichkeit as norm in Swedish church music -- Chapter 8-A Lost Imagination? New Objectivity and the Swedish Section of the International Society for Contemporary Music (ISSM) 1923?1939 -- Chapter9-Between Expressionism and Neue Sachlichkeit? Transformations of the Händel opera revival in the light of artistic networks -- Part 4-Sachliche? Practices Through New Media and Technology -- Chapter 10-New attitudes of professional music listeners in Hungary in the 1920s and 1930s.Chapter 11-Kajsa Rootzén and the record review: Solitary listening to die Sache selbst.Chapter 12-The performer and the machine: unexpected parallels between Neue Sachlichkeit and Italian Neo-Idealism in the interwar years -- Chapter 13-Between Sachlichkeit and sentimentality: the medial qualities of early Danish music radio programming. 330 $aThis edited volume offers a new perspective on the new objectivity movement in music during the interwar period, challenging the view of it as a solely German or Berlin-based movement. Unlike architecture or visual arts, musicology has rarely applied the term beyond Germany. Yet, new objectivity in music?spanning composition, performance, and listening?had significant European expressions. Key features included a rejection of expressionism, interest in mechanical reproduction (radio, gramophone), and objective performance styles. Through historiographical analysis and diverse case studies from several European countries, the book presents the movement as a broader, locally rooted phenomenon reflecting a shared Zeitgeist. It explores how these ideas emerged independently across national contexts, offering new insights into the cultural and political dynamics of the period. By examining aesthetic, institutional, political, and performative dimensions, the book invites a rethinking of new objectivity as a transnational and multifaceted phenomenon, and proposes its relevance as a tool for historiographical inquiry in music studies. Benedetta Zucconi is Assistant Professor in Musicology at the University of Cagliari. Her research interests focus on the history of sound technology and music media, the cultural history of music, music theatre and the European historical avant-garde in music. Ulrik Volgsten is Professor of musicology at Örebro University, Sweden. He has held positions at the University of Gothenburg and Stockholm University. His research is concerned with the conceptual history of Western music (composer, work, listener), philosophy of music, with a special focus on musical communication in different media and the role of vitality affects. . 410 0$aLiterature, Cultural and Media Studies 606 $aMusic$xHistory and criticism 606 $aMusic 606 $aHistory of Music 606 $aClassical Music 606 $aContemporary Music 615 0$aMusic$xHistory and criticism. 615 0$aMusic. 615 14$aHistory of Music. 615 24$aClassical Music. 615 24$aContemporary Music. 676 $a780.9430904 700 $aZucconi$b Benedetta$01741537 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9911046529903321 996 $aEuropean Perspectives on the New Objectivity Movement$94469562 997 $aUNINA