Nature’s Voice in Crumb’s An Idyll for the Misbegotten
Datos Bibliográficos
| ID | 7928835 |
|---|---|
| Autores | Robert C Cook (University of Iowa, autor de correspondencia) |
| Año | 2017 |
| Volumen | 23 |
| Número | 1 |
| Fecha de publicación | 2017-03-01 |
| Peer Reviewed | Sí |
| Open Access | Sí |
| Tipo | ARTICLE |
| Revista | Music Theory Online (JOURNAL) |
| Identificadores de la revista | ISSN: 1067-3040 • E-ISSN: 1067-3040 |
| Editorial | Society for Music Theory (PUBLISHER • US) |
| DOI | 10.30535/mto.23.1.1 |
| OpenAlex | W2608242178 |
| Idioma | EN |
| Citas recibidas | 3 |
| Referencias citadas | 14 |
George Crumb prefaces the score to An Idyll for the Misbegotten with a note identifying humankind as the “misbegotten,” rulers of an environmentally “dying world.” Crumb’s piece responds to these thoughts by evoking the “voice of nature.” To have a voice is to have acoustic agency, to have one’s presence acknowledged and heard. In this article, I explore what it means for nature and music to have voice in this sense, and how Crumb’s Idyll may be heard to sing in nature’s voice. I investigate the role played in the work by a quotation of Debussy’s Syrinx , pertinent themes of voice and nature in the tales of Syrinx and Io by the Roman poet Ovid, and the aesthetic tendencies of American ecological thought, represented by Aldo Leopold. I show how Crumb subtly acknowledges the inseparability of culture and environmental impact, while simultaneously summoning listeners out into a soundscape in which Nature’s voices speak
Aesthetics · Art · Idyll · Literature · Communication · Diverse Musicological Studies · Music Technology and Sound Studies · Musicology and Musical Analysis · Psychology
| Obras citantes distintas | 3 |
|---|---|
| Citas por año | 0,6 |
| Intervalo de citas | 2021 - 2022 (2) |
| Velocidad de citación | historical |
| Altamente citado | No |
| Tipos de cita | Neutras: 3 |