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Morton Feldman : Friendship and Mourning in the New York Avant-garde, Paperba...
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Specificaties
- Objectstaat
- Book Title
- Morton Feldman : Friendship and Mourning in the New York Avant-ga
- ISBN
- 9781501345456
- Publication Year
- 2022
- Type
- Textbook
- Format
- Trade Paperback
- Language
- English
- Publication Name
- Morton Feldman : Friendship and Mourning in the New York Avantgarde
- Item Height
- 0.7in
- Item Length
- 8.9in
- Publisher
- Bloomsbury Publishing
- Item Width
- 6in
- Item Weight
- 12.9 Oz
- Number of Pages
- 232 Pages
Over dit product
Product Information
Morton Feldman: Friendship and Mourning in the New York School documents the collaborations and conflicts essential to the history of the post-war avant-garde. It offers a study of composer Morton Feldman's associations and friendships with artists like John Cage, Jackson Pollock, Philip Guston, Frank O'Hara, Charlotte Moorman, and others. Arguing that friendship and mourning sustained the collective aesthetics of the New York School, Dohoney has written an emotional and intimate revision of New York modernism from the point of view of Feldman's agonistic community.
Product Identifiers
Publisher
Bloomsbury Publishing
ISBN-10
1501345451
ISBN-13
9781501345456
eBay Product ID (ePID)
8038700092
Product Key Features
Publication Name
Morton Feldman : Friendship and Mourning in the New York Avantgarde
Format
Trade Paperback
Language
English
Publication Year
2022
Type
Textbook
Number of Pages
232 Pages
Dimensions
Item Length
8.9in
Item Height
0.7in
Item Width
6in
Item Weight
12.9 Oz
Additional Product Features
Lc Classification Number
Ml410.F2957d63 2022
Reviews
"Dohoney's graceful and affecting meditation on the plexus of Feldman's relationships compellingly surveys Feldman's dedication-and his dedications-to his friends, his love for poetry, painting, and for their makers, and the mourning and melancholy that ultimately tied them together. Feldman's music becomes increasingly concerned, in Dohoney's vivid account, with what survives, what endures, and what can still be heard, even as it ebbs." -- Martin Iddon, Professor of Music and Aesthetics, University of Leeds, UK, Ryan Dohoney's book distinctively illuminates and contextualizes Morton Feldman's modernist music. It is an account of Feldman's relationships, in particular, with the poet and art writer Frank O'Hara and the visual artist Philip Guston. Two large themes emerge, friendship and death. This is a new kind of musicology, with much detailed historical research that also finds emotional elements central to understanding the music, an affective account of what Feldman would call his life in art. It puts together the personal and what we have "out there," the music., "Dohoney's graceful and affecting meditation on the plexus of Feldman's relationships compellingly surveys Feldman's dedication-and his dedications-to his friends, his love for poetry, painting, and for their makers, and the mourning and melancholy that ultimately tied them together. Feldman's music becomes increasingly concerned, in Dohoney's vivid account, with what survives, what endures, and what can still be heard, even as it ebbs." -- Martin Iddon, Professor of Music and Aesthetics, University of Leeds, UK "Ryan Dohoney's book distinctively illuminates and contextualizes Morton Feldman's modernist music. It is an account of Feldman's relationships, in particular, with the poet and art writer Frank O'Hara and the visual artist Philip Guston. Two large themes emerge, friendship and death. This is a new kind of musicology, with much detailed historical research that also finds emotional elements central to understanding the music, an affective account of what Feldman would call his life in art. It puts together the personal and what we have "out there," the music." -- Christian Wolff, composer and Jacob H. Strauss 1922 Professor of Music, Emeritus, Dartmouth College, USA, "Dohoney's graceful and affecting meditation on the plexus of Feldman's relationships compellingly surveys Feldman's dedication-and his dedications-to his friends, his love for poetry, painting, and for their makers, and the mourning and melancholy that ultimately tied them together. Feldman's music becomes increasingly concerned, in Dohoney's vivid account, with what survives, what endures, and what can still be heard, even as it ebbs." -- Martin Iddon, Professor of Music and Aesthetics, University of Leeds, UK "Ryan Dohoney's book distinctively illuminates and contextualizes Morton Feldman's modernist music. It is an account of Feldman's relationships, in particular, with the poet and art writer Frank O'Hara and the visual artist Philip Guston. Two large themes emerge, friendship and death. This is a new kind of musicology, with much detailed historical research that also finds emotional elements central to understanding the music, an affective account of what Feldman would call his life in art. It puts together the personal and what we have "out there," the music." -- Christian Wolff, Jacob H. Strauss 1922 Professor of Music, Emeritus, Dartmouth College, USA, "Dohoney's graceful and affecting meditation on the plexus of Feldman's relationships compellingly surveys Feldman's dedication--and his dedications--to his friends, his love for poetry, painting, and for their makers, and the mourning and melancholy that ultimately tied them together. Feldman's music becomes increasingly concerned, in Dohoney's vivid account, with what survives, what endures, and what can still be heard, even as it ebbs." - Martin Iddon, Professor of Music and Aesthetics, University of Leeds, UK " Ryan Dohoney's book distinctively illuminates and contextualizes Morton Feldman's modernist music. It is an account of Feldman's relationships, in particular, with the poet and art writer Frank O'Hara and the visual artist Philip Guston. Two large themes emerge, friendship and death. This is a new kind of musicology, with much detailed historical research that also finds emotional elements central to understanding the music, an affective account of what Feldman would call his life in art. It puts together the personal and what we have "out there," the music." - Christian Wolff, composer and Jacob H. Strauss 1922 Professor of Music, Emeritus, Dartmouth College, USA " Ryan Dohoney's fantastic book on Morton Feldman points to a Copernican turn within studies of the social life of the arts: trapped for decades in the domain of theme and anecdote, friendship here emerges instead as the infrastructure or medium it in fact is. Friendship thus does not "contextualize" Feldman's music from the outside, but rather enables and structures it from within, like the charged gaps between his notes." - Lytle Shaw, Professor of English, New York University, USA, Ryan Dohoney's fantastic book on Morton Feldman points to a Copernican turn within studies of the social life of the arts: trapped for decades in the domain of theme and anecdote, friendship here emerges instead as the infrastructure or medium it in fact is. Friendship thus does not "contextualize" Feldman's music from the outside, but rather enables and structures it from within, like the charged gaps between his notes., "Dohoney's graceful and affecting meditation on the plexus of Feldman's relationships compellingly surveys Feldman's dedication-and his dedications-to his friends, his love for poetry, painting, and for their makers, and the mourning and melancholy that ultimately tied them together. Feldman's music becomes increasingly concerned, in Dohoney's vivid account, with what survives, what endures, and what can still be heard, even as it ebbs." -- Martin Iddon, Professor of Music and Aesthetics, University of Leeds, UK "Ryan Dohoney's book distinctively illuminates and contextualizes Morton Feldman's modernist music. It is an account of Feldman's relationships, in particular, with the poet and art writer Frank O'Hara and the visual artist Philip Guston. Two large themes emerge, friendship and death. This is a new kind of musicology, with much detailed historical research that also finds emotional elements central to understanding the music, an affective account of what Feldman would call his life in art. It puts together the personal and what we have "out there," the music." -- Christian Wolff, composer and Jacob H. Strauss 1922 Professor of Music, Emeritus, Dartmouth College, USA "Ryan Dohoney's fantastic book on Morton Feldman points to a Copernican turn within studies of the social life of the arts: trapped for decades in the domain of theme and anecdote, friendship here emerges instead as the infrastructure or medium it in fact is. Friendship thus does not "contextualize" Feldman's music from the outside, but rather enables and structures it from within, like the charged gaps between his notes." -- Lytle Shaw, Professor of English, New York University, USA, "Dohoney's graceful and affecting meditation on the plexus of Feldman's relationships compellingly surveys Feldman's dedication-and his dedications-to his friends, his love for poetry, painting, and for their makers, and the mourning and melancholy that ultimately tied them together. Feldman's music becomes increasingly concerned, in Dohoney's vivid account, with what survives, what endures, and what can still be heard, even as it ebbs." -- Martin Iddon, Professor of Music and Aesthetics, University of Leeds, UK "Ryan Dohoney's book distinctively illuminates and contextualizes Morton Feldman's modernist music. It is an account of Feldman's relationships, in particular, with the poet and art writer Frank O'Hara and the visual artist Philip Guston. Two large themes emerge, friendship and death. This is a new kind of musicology, with much detailed historical research that also finds emotional elements central to understanding the music, an affective account of what Feldman would call his life in art. It puts together the personal and what we have "out there," the music." -- Christian Wolff, composer and Jacob H. Strauss 1922 Professor of Music, Emeritus, Dartmouth College, USA "Ryan Dohoney's fantastic book on Morton Feldman points to a Copernican turn within studies of the social life of the arts: trapped for decades in the domain of theme and anecdote, friendship here emerges instead as the infrastructure or medium it in fact is. Friendship thus does not "contextualize" Feldman's music from the outside, but rather enables and structures it from within, like the charged gaps between his notes." -- Lytle Shaw, Associate Professor of English, New York University, USA, Dohoney's graceful and affecting meditation on the plexus of Feldman's relationships compellingly surveys Feldman's dedication--and his dedications--to his friends, his love for poetry, painting, and for their makers, and the mourning and melancholy that ultimately tied them together. Feldman's music becomes increasingly concerned, in Dohoney's vivid account, with what survives, what endures, and what can still be heard, even as it ebbs.
Table of Content
List of Illustrations Introduction1. Spontaneity, Intimacy, and Friendship in the 1950s2. " Élan vital ... and how to fake it"Intermission: The Necessary Other3. The Elegiac Science4. "We broke up because of style"Conclusion: Friendship's Silence Acknowledgments Bibliography Index
Target Audience
College Audience
Topic
History & Criticism, Philosophy & Social Aspects, Individual Composer & Musician
Lccn
2021-023782
Dewey Decimal
780.92
Dewey Edition
23
Illustrated
Yes
Genre
Music
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