Skip to main content Accessibility help
×
Hostname: page-component-cd9895bd7-dk4vv Total loading time: 0 Render date: 2024-12-25T05:37:17.798Z Has data issue: false hasContentIssue false

11 - Music of seriousness and commitment: the 1930s and beyond

Published online by Cambridge University Press:  28 March 2008

Nicholas Cook
Affiliation:
Royal Holloway, University of London
Anthony Pople
Affiliation:
University of Nottingham
Get access

Summary

The variety of compositional styles, the multiplicity of the functions of music, the verdict that Schoenberg’s music was destined for the happy few who could understand it (and that Richard Strauss’s was destined for the happy few who could afford it), the lamented lack of a relationship to society and ‘the people’, the lack of genre consciousness in the works of many composers in the 1920s, their flirting with the vernacular or the apparent banality of their music – all these perceptions led inevitably to a quest for greater seriousness in music and a new sense of social commitment. The new seriousness was meant to supersede the arbitrariness of musical styles and reinstate composition as a coherent manifestation of high cultural values or as a timeless emanation of the art of music. It was, in short, to replace the alleged social irresponsibility of the 1920s.

The scandals provoked by Schoenberg’s and Stravinsky’s music before the First World War had been a symptom of the dispersion of a hitherto more or less consistent stylistic language. Together with Stravinsky’s The Rite of Spring, Schoenberg’s non-tonal works had been the first compositions which seemed to jettison the musical tradition of the nineteenth century. In hindsight, a work like Richard Strauss’s Der Rosenkavalier, mirroring in ‘its ahistorical anachronisms’ the ‘disunities of modern life’, equally served to undermine a sense of coherent compositional development. The emergence of a plethora of disparate musical styles and techniques meant that there was no longer a perceived tradition: any composer could be progressive and regressive at the same time, and in this way compositional options presented themselves less in the form of a linear development than of a maze in which tradition seemed to play no part.

Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2004

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Béhague, Gerard. ‘The Hispanic World, 1918–45’, in Morgan, Robert P. (ed.), Modern Times: From World War I to the Present, Englewood Cliffs, NJ, 1993.Google Scholar
Breimann, Gudrun. ‘Mathis der Maler’ und der ‘Fall Hindemith’. Studien zu Hindemiths Opernlibretto im Kontext der kulturgeschichtlichen und politischen Bedingungen der 30er Jahre, Frankfurt, 1997.Google Scholar
Bruhn, Siglind. The Temptation of Paul Hindemith: ‘Mathis der Maler’ as a Spiritual Testimony, Stuyvesant, NY, 1998.Google Scholar
Butterworth, Neil. The Music of Aaron Copland, London, 1985.Google Scholar
Cascudo, Teresa. ‘Nationalism and Music during the 30s: the Portuguese Case’, paper presented at the conference ‘Nation, Myth and Reality: Music in the 1930s’, Royal Holloway, University of London, October 1998.Google Scholar
Copland, Aaron. The New Music 1900–1960, London, 1968.Google Scholar
Danuser, Hermann. Die Musik des 20. Jahrhunderts, Laaber, 1984.Google Scholar
Darby, William and Jack, Du Bois. American Film Music: Major Composers, Techniques, Trends, 1915–1990, Jefferson, NC, 1990.Google Scholar
Egorova, Tatiana K.Soviet Film Music: An Historical Survey, Amsterdam, 1997.Google Scholar
Fay, Laurel E.From Lady Macbeth to Katerina: Shostakovich’s Versions and Revisions’, in Fanning, David (ed.), Shostakovich Studies, Cambridge, 1995.Google Scholar
Fay, Laurel E.Shostakovich: A Life, Oxford, 2000.Google Scholar
Fischer, Erik. Zur Problematik der Opernstruktur: Das künstlerische System und seine Krisis im 20. Jahrhundert, Wiesbaden, 1982.Google Scholar
Frolova-Walker, Marina. ‘“National in Form, Socialist in Content”: Musical Nation-Building in the Soviet Republics’, Journal of the American Musicological Society 51 (1998).CrossRefGoogle Scholar
Gerigk, Herbert. ‘Aus dem Musikleben’, Nationalsozialistische Monatshefte 8 (1937).Google Scholar
Gilliam, Bryan. The Life of Richard Strauss, Cambridge, 1999.Google Scholar
Goldman, Richard Franko. ‘American Music: 1918–1960 (i) Music in the United States’, in Cooper, Martin (ed.), The Oxford History of Music, X: The Modern Age, 1890–1960, London, 1974.Google Scholar
Griffiths, Paul. Olivier Messiaen and the Music of Time, London, 1985.Google Scholar
Gut, Serge. Le groupe Jeune France. Yves Baudrier, Daniel Lesur, AndréJolivet, Olivier Messiaen, Paris, 1984.Google Scholar
Hamm, Charles. Yesterday: Popular Song in America, New York, 1979.Google Scholar
Böhme, Franz, Altdeutsches Liederbuch (1877)
Jaffé, Daniel. Sergey Prokofiev, London, 1998.Google Scholar
Kater, Michael. Different Drummers: Jazz in the Culture of Nazi Germany, New York, 1992.Google Scholar
Krenek, Ernst. ‘Amerikas Einfluß auf eingewanderte Komponisten’, Musica 13 (1959).Google Scholar
Levi, Erik. Music in the Third Reich, Basingstoke, 1994.CrossRefGoogle Scholar
Manvell, Roger and John, Huntley. The Technique of Film Music (rev. and enlarged by Arnell, Richard and Day, Peter), London, 1975.Google Scholar
Messiaen, Olivier. ‘Le rythme chez Igor Strawinsky’, Revue musicale 191 (1939).Google Scholar
Morrison, Simon. ‘Sergei Prokofiev’s “Semyon Kotko” as a Representative Example of Socialist Realism’, MA diss., McGill University, Montreal, 1992.Google Scholar
Nicolodi, Fiamma. Musica e musicisti nel ventennio fascista, Fiesole, 1984.Google Scholar
Oja, Carol J.Marc Blitzstein’s The Cradle Will Rock and Mass-Song Style of the 1930s’, Musical Quarterly 73 (1989).CrossRefGoogle Scholar
Pollack, Howard. Aaron Copland: The Life and Work of an Uncommon Man, New York, 1999.Google Scholar
Redepenning, Dorothea. ‘“…volkstümlich nach Form und Inhalt…” Überlegungen zur russisch-sowjetischen Oper’, in Bermbach, Udo (ed.), Operim 20. Jahrhundert. Entwicklungstendenzen und Komponisten, Stuttgart, 2000.Google Scholar
Riethmüller, Albrecht. ‘Die DreißigerJahre: Eine Dekade kompositorischer Ermüdung oder Konsolidierung? Zusammenfassung der Diskussion’, in Mahling, Christoph-Hellmut and Wiesmann, Sigrid (eds.), Bericht über den Internationalen Musikwissenschaftlichen Kongreß Bayreuth 1981, Kassel, 1984.Google Scholar
Schuller, Gunther. The Swing Era: The Development of Jazz 1930–1945, New York, 1989.Google Scholar
Schwarz, Boris. Music and Musical Life in Soviet Russia: 1917–1970, London, 1972.Google Scholar
Scott, H. G. (ed. and tr.). Soviet Writers’ Congress 1934: the Debate on Socialist Realism and Modernism in the Soviet Union, London, 1977.Google Scholar
Stenzl, Jürg. Von Giacomo Puccini zu Luigi Nono. Italienische Musik 1922–1952: Faschismus – Resistenza – Republik, Buren, 1990.Google Scholar
Stites, Richard. Russian Popular Culture: Entertainment and Society since 1900, Cambridge, 1992.Google Scholar
Taruskin, Richard. ‘Public Lies and Unspeakable Truth: Interpreting Shostakovich’s Fifth Symphony’, in Fanning, David (ed.), Shostakovich Studies, Cambridge, 1995.Google Scholar
Thiel, Wolfgang. Filmmusik in Geschichte und Gegenwart, Berlin, 1981.Google Scholar
Tippett, Michael. Moving into Aquarius (2nd edn), St Albans, 1974.Google Scholar
Whittall, Arnold. The Music of Britten and Tippett: Studies in Themes and Techniques, Cambridge, 1982.Google Scholar
Whittall, Arnold. Music since the First World War (2nd edn), New York, 1988.Google Scholar
Wicke, Peter. Von Mozart zu Madonna: Eine Kulturgeschichte der Popmusik, Leipzig, 1998.Google Scholar
Zalduondo, Gemma Perez. ‘The Concepts of “People” and “Nation” in the Republican and Francoist Musical Projects’, paper presented at the conference ‘Nation, Myth and Reality: Music in the 1930s’, Royal Holloway, University of London, October 1998.Google Scholar
Zalduondo, Gemma Perez. ‘El nacionalismo como eje de la politica musical del primer gobierno regular de Franco (30 de enero de 1938–8 de agosto de 1939)’, Revista de Musicología 18 (1995).CrossRefGoogle Scholar
Zenck, Claudia Maurer. ‘Zwischen Boykott und Anpassung an den Charakter der Zeit. Über die Schwierigkeiten eines deutschen Komponisten mit dem Dritten Reich’, Hindemith-Jahrbuch/Annales Hindemith 9 (1980).Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×