| 000 | 02712namaa2200313 cb4500 | ||
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| 001 | BV005305351 | ||
| 003 | DE-70 | ||
| 005 | 20260714114652.0 | ||
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| 008 | 920527s1980 a||| |||| 00||| und d | ||
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_a9783031982613 _9978-3-031-98261-3 |
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| 024 |
_a9783031982613 _a978-3-031-98261-3 |
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| 040 | _cRU-10907106 | ||
| 041 | _aeng | ||
| 100 |
_aZucconi, Benedetta (Hrsg.); Volgsten, Ulrik (Hrsg.) _4aut _969520 |
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| 245 |
_aEuropean Perspectives on the New Objectivity Movement _bEntanglements of Music, Poetics, and Ideas in the Interwar Years |
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| 264 |
_aCham _bSpringer International Publishing; Palgrave Macmillan _c2025 |
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| 300 | _a332 Seiten | ||
| 336 |
_2rdacontent _aText _btxt |
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| 337 |
_2rdamedia _aComputermedien _bbc |
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_2rdacarrier _aOnline Ressource _bcr |
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| 490 | _aLiterature, Cultural and Media Studies / Literature, Cultural and Media Studies (R0) | ||
| 500 | _aE-Book / Zugriff nur im Lesesaal | ||
| 520 | _a Part 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 Halls 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 H©·andel 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 Rootz©Øen 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. | ||
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_zVolltext _uhttp://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=4368091 |
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