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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 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.

European Perspectives on the New Objectivity Movement

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    A Hardback by Benedetta Zucconi

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      Publisher: Palgrave Macmillan
      Publication Date: Publication Date: 01/10/2025
      ISBN13: 9783031982606, 978-3031982606
      ISBN10:
      Also in:
      Music

      Description

      Book Synopsis

      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 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.

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