Britten's Ambiguities; Tippett's Times; Metzer's Borrowings - Philip Rupprecht, Britten's Musical Language. Cambridge: Cambridge University Press, 2001. viii + 358 pp. ISBN 0 521 63154 8. - David Clarke, The Music and Thought of Michael Tippett: Modern Times and Metaphysics. Cambridge: Cambridge University Press, 2001. xii + 343 pp. ISBN 0 521 58292 X. - David Metzer, Quotation and Cultural Meaning in Twentieth-Century Music. Cambridge: Cambridge University Press, 2003. viii + 230 pp. ISBN 0 521 82509 1.-Reference-Cited by-同舟云学术

Britten's Ambiguities; Tippett's Times; Metzer's Borrowings - Philip Rupprecht, Britten's Musical Language. Cambridge: Cambridge University Press, 2001. viii + 358 pp. ISBN 0 521 63154 8. - David Clarke, The Music and Thought of Michael Tippett: Modern Times and Metaphysics. Cambridge: Cambridge University Press, 2001. xii + 343 pp. ISBN 0 521 58292 X. - David Metzer, Quotation and Cultural Meaning in Twentieth-Century Music. Cambridge: Cambridge University Press, 2003. viii + 230 pp. ISBN 0 521 82509 1.

Published:2004 Issue:2 Volume:129 Page:305-323
ISSN:0269-0403
Container-title:Journal of the Royal Musical Association
language:en
Short-container-title:J. R. Music. Assoc.

Author:

Beard David

Publisher

Cambridge University Press (CUP)

Subject

Music

Reference65 articles.

1. The stated aim of the book is to ‘explore the role of language in Britten's music with particular concern for questions of utterance’. By adopting such an approach, it is claimed, it is possible to address, from a new perspective, a central feature of Britten's art – ‘his intuitive ability to find compelling musical realizations for speech in all its diversity’ (p. 30).

2. Notable exceptions to this include dialectics between an aesthetic of transcendence and Tippett's views on the Polish uprising of 1956, discussed in chapter 4 in relation to The Visions of Augustine, and between the televisual and the (early Romantic) sublime in chapter 5 in relation to The Mask of Time.

3. Some of these attempts are outlined in Metzer's footnote.

4. Robert Falck, ‘Marie Pappenheim, Schoenberg, and the Studien über Hysterie’, German Literature and Music, An Aesthetic Function: 1890–1989, ed. Claus Reschke and Howard Pollack (Munich, 1992), 131–44.

5. Opera Talk: A Philosophical “Phantasie”;Cambridge Opera Journal,1991