Martinu's Subliminal States
Regular price
€107.99
A01=Dr Thomas D. Svatos
A01=Thomas D. Svatos
Age Group_Uncategorized
Age Group_Uncategorized
Author_Dr Thomas D. Svatos
Author_Thomas D. Svatos
automatic-update
Category1=Non-Fiction
Category=AVH
Category=AVN
Category=AVP
Category=BGFA
Category=BJ
Category=DNBF1
Category=DND
Category=DSBH
Composer's Diaries
Composer's Writings
COP=United States
Delivery_Delivery within 10-20 working days
eq_art-fashion-photography
eq_bestseller
eq_biography-true-stories
eq_isMigrated=2
eq_music
eq_nobargain
eq_non-fiction
Ghosts of the Past
History of Music
Intellectual Influence
Language_English
Martinu
Music Philosophy
Musical Aesthetics
PA=Available
Price_€50 to €100
PS=Active
softlaunch
Subliminal States
Product details
- ISBN 9781580465571
- Weight: 556g
- Dimensions: 152 x 229mm
- Publication Date: 25 Oct 2018
- Publisher: Boydell & Brewer Ltd
- Publication City/Country: US
- Product Form: Hardback
- Language: English
Secure
checkout
Fast Shipping
Easy returns
The composer's diaries, translated for the first time, with commentary on his distinctive musical aesthetics and his relationship to artistic cross-currents in Czechoslovakia, France, and America.
Bohuslav Martinu (1890-1959) was one of the most productive and frequently performed composers of the mid-twentieth century, renowned for such works as his opera Julietta; the Double Concerto for Two String Orchestras, Piano, and Timpani; and Symphony no. 6 ("Fantaisies symphoniques"). History books, however, rarely give a sense of what he stood for as a musician.
Martinu's Subliminal States fills this gap by discussing the political, cultural, and musical challenges that he faced. The book also offers, for the first time, a translation of the composer's American Diaries, in which he set down his musical philosophy in direct and convincing terms.
Martinu's diaries are, in large measure, a quest to establish a new kind of discourse on music. In place of the Romantic sentiment that he found others invoking to explain musical inspiration, Martinu suggested looking for"emotion" elsewhere, such as in the technical decisions a composer makes while producing the score, or even in the composer's ability to work "without conscious involvement." And in place of the schematic formal analyses that hefelt were misleading listeners about a work's "musical structure," he urged that we treat the work as a Gestalt, or as a synergy of functional relations. Martinu's diaries provide a unique contribution to the history of musical aesthetics and shed light on a composer who loomed large in the musical worlds of Europe and America.
THOMAS D. SVATOS is Assistant Professor at Zayed University.
