Twentieth Century Music and the Question of Modernity

193 Pages·2010·1.27 MB·English

by  Eduardo de la Fuente

Twentieth Century Music
and the Question of
Modernity
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andRonaldBreiger EduardoDeLaFuente

Twentieth Century Music
and the Question of
Modernity
Eduardo De La Fuente
Firstpublished2011
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p.cm.–(Routledgeadvancesinsociology;54)
Includesbibliographicalreferencesandindex.
1.Modernism(Music)2.Music–20thcentury–Historyandcriticism.
3.Music–20thcentury–Philosophyandaesthetics.4.Music–20th
century–Socialaspects.I.Title.
ML197.F862010
780.9’04–dc22
2010007189
ISBN 0-203-84547-1 Master e-book ISBN
ISBN13:978-0-415-96208-7(hbk)
ISBN13:978-0-203-84547-9(ebk)
Contents
Acknowledgments viii
Introduction 1
1 Modernity, Modernism and Music 16
2 Myth and Narrative in Twentieth Century Musical Culture 31
3 The Structure of Musical Revolutions 40
4 Music in Max Weber’s Sociology of Modernity 53
5 Modernity in Theodor Adorno’s Philosophy of Modern Music 67
6 Music in Modern Theories of Communication 80
7 Arnold Schoenberg: The Composer as Prophet 91
8 Igor Stravinsky: The Composer as Priest 103
9 Pierre Boulez: The Composer as Ascetic 115
10 John Cage: The Composer as Mystic 126
11 From Avant-Gardism to Post-Modernism 138
12 Musical Re-enchantment? 154
Bibliography 168
Index 181
Acknowledgments
Thisprojecthasbeeninthepipelineforagreatnumberofyearsandtherefore
has benefited from the input of a long list of people.
IwouldliketothankTonyBennettforsupervisingamuchearlierincarnation
of this study as a PhD thesis at Griffith University, under the title ‘Music,
Modernity and Social Theory’. The author put the ‘music and modernity’
project to one side for a number of years until it was given a new lease of
lifeduringaperiodspentasaFacultyFellowattheYaleCenterforCultural
Sociology, in April–June of 2005. In addition to providing a desk in the
lovely Queen Anne Revival Mansion that houses the Center for Cultural
Sociology, and access to one of the great research libraries, Jeff Alexander,
Phil Smith and Ron Eyerman offered a congenial intellectual environment
for discovering afresh the possibilities present in a cultural sociology. Phil
Smith also offered the perceptive advice that the project sounded like a
‘Routledge kind of book’ and I am pleased the publisher agreed with him.
It was during my period at Yale that I was also able to reacquaint myself
with those wonderful Exeter sociologists Bob Witkin and Tia DeNora, who
also happened to be passing through New Haven at the time. Their work is
a constant source of inspiration; as are the writings of Bernice Martin, a
pioneerinthefieldofthesociologyofavant-gardecultures.ThelatterIonly
know through her publications but, as the contents of this book reveal, her
study A Sociology of Contemporary Cultural Change has been a constant
companion during the writing of Twentieth Century Music and the Ques-
tion ofModernity.ItwasGaryEasthope,acolleague duringmyyearsatthe
UniversityofTasmania,whodecided tobequeathhiscopyofMartin’sbook
to a young cultural sociologist then struggling to work out how to write
meaningfullyaboutthetopicoftheartsandculturalchange. Martin’swork,
like the visit to Yale, turned out to be just the tonic I was looking for.
During the writing phase, I was fortunate to have conversations about
music and modernity with various other old and new colleagues – John
Lechte, John Potts, and Alison Leitch at Macquarie University; and Agnes
Heller,PhilipFlavin,PeterMurphy,andDavidRobertsatMonashUniversity.
The latter two have an uncanny capacity to preempt where I will head next
in my own thinking. I still find it difficult to believe that Chapters 7 and 10
Acknowledgments ix
were anticipated by a conversation the three of us had over lunch in a
Carlton hotel in Melbourne, in December of 1999. Peter Murphy also com-
mented on drafts of chapters and I thank him for his editing abilities. I have
also been fortunate, during the last three years, to supervise some very
talented postgraduate and honors students. I would like to especially thank
Michael Walsh and Lawson Fletcher for letting me use them as sounding
boards.