J P E Harper-Scott
Biographic Data
| ID | 1023716 |
|---|---|
| NAME | J P E Harper-Scott |
| GIVEN NAMES | J P E |
| FAMILY NAME | Harper-Scott |
| SIGNATURE | HARPER-SCOTT J P E |
| VERIFIED | No |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 4 |
| AUTHOR COUNT | 6 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2005 |
| LATEST PUBLICATION YEAR | 2018 |
| H-INDEX | 1 |
Ideology in Britten's Operas
The Quilting Points of Musical Modernism: Revolution, Reaction, and William Walton
Modernism is both a contested aesthetic category and a powerful political statement. Modernist music was condemned as degenerate by the Nazis and forcibly replaced by socialist realism under the Soviets. Sympathetic philosophers and critics have interpreted it as a vital intellectual defence against totalitarianism, yet some American critics consider it elitist, undemocratic and even unnatural. Drawing extensively on the philosophy of Heidegger a…
Quilting Points of Musical Modernism: Revolution, Reaction, and William Walton
Our true north: Walton's First Symphony, Sibelianism, and the Nationalization of Modernism in England
The debt of Walton's First Symphony to Sibelian models of symphonic form is often acknowledged, but the debt's wider implications are seldom considered. The inter-war English idolization of Sibelius may help to explain why Walton should use characteristic Sibelian procedures such as rotational form, heavy dependence on pedal points for structural purposes, and focus on a sound-sheet or Klang —however individually Walton treats these devices—but i…
The Cambridge Companion to Elgar
Edward Elgar occupies a pivotal place in the British cultural imagination. His music has been heard as emblematic of Empire and the English landscape. The recent success of Anthony Payne's elaboration of the sketches for Elgar's Third Symphony has prompted a critical revaluation of his music. This Companion provides an accessible and vivid account of Elgar's work in its historical and cultural context. Established authorities on British music and…
A Nice Sub-Acid Feeling: Schenker, Heidegger and Elgar's First Symphony
Schenkerian analysis is a problematic tool for the analysis of early modernist music, not least because its deep-level theoretical and hermeneutic dependence on the Beethovenian heroic style is at risk of predefining the outline of a hermeneutics of other music. By bringing the Ursatz into contact with Martin Heidegger's concept of the Augenblick, it becomes possible to sever this restrictive hermeneutic link and also to open up a radically new p…
A Nice Sub-Acid Feeling: Schenker, Heidegger and Elgar's First Symphony
Schenkerian analysis is a problematic tool for the analysis of early modernist music, not least because its deep-level theoretical and hermeneutic dependence on the Beethovenian heroic style is at risk of predefining the outline of a hermeneutics of other music. By bringing the Ursatz into contact with Martin Heidegger's concept of the Augenblick, it becomes possible to sever this restrictive hermeneutic link and also to open up a radically new p…
Our true north: Walton's First Symphony, Sibelianism, and the Nationalization of Modernism in England
The debt of Walton's First Symphony to Sibelian models of symphonic form is often acknowledged, but the debt's wider implications are seldom considered. The inter-war English idolization of Sibelius may help to explain why Walton should use characteristic Sibelian procedures such as rotational form, heavy dependence on pedal points for structural purposes, and focus on a sound-sheet or Klang —however individually Walton treats these devices—but i…
The Cambridge Companion to Elgar
Edward Elgar occupies a pivotal place in the British cultural imagination. His music has been heard as emblematic of Empire and the English landscape. The recent success of Anthony Payne's elaboration of the sketches for Elgar's Third Symphony has prompted a critical revaluation of his music. This Companion provides an accessible and vivid account of Elgar's work in its historical and cultural context. Established authorities on British music and…
A Nice Sub-Acid Feeling: Schenker, Heidegger and Elgar's First Symphony
Schenkerian analysis is a problematic tool for the analysis of early modernist music, not least because its deep-level theoretical and hermeneutic dependence on the Beethovenian heroic style is at risk of predefining the outline of a hermeneutics of other music. By bringing the Ursatz into contact with Martin Heidegger's concept of the Augenblick, it becomes possible to sever this restrictive hermeneutic link and also to open up a radically new p…
Our true north: Walton's First Symphony, Sibelianism, and the Nationalization of Modernism in England
The debt of Walton's First Symphony to Sibelian models of symphonic form is often acknowledged, but the debt's wider implications are seldom considered. The inter-war English idolization of Sibelius may help to explain why Walton should use characteristic Sibelian procedures such as rotational form, heavy dependence on pedal points for structural purposes, and focus on a sound-sheet or Klang —however individually Walton treats these devices—but i…
The Quilting Points of Musical Modernism: Revolution, Reaction, and William Walton
Modernism is both a contested aesthetic category and a powerful political statement. Modernist music was condemned as degenerate by the Nazis and forcibly replaced by socialist realism under the Soviets. Sympathetic philosophers and critics have interpreted it as a vital intellectual defence against totalitarianism, yet some American critics consider it elitist, undemocratic and even unnatural. Drawing extensively on the philosophy of Heidegger a…
Quilting Points of Musical Modernism: Revolution, Reaction, and William Walton
Ideology in Britten's Operas
Art (4 works) · Art history (4 works) · History (3 works) · Law (3 works) · Musicology and Musical Analysis (3 works) · Political science (3 works) · Politics (3 works) · Aesthetics (2 works) · Epistemology (2 works) · Literature (2 works)