Cosmopolitanism and Transatlantic Circles in Music and Literature traces the transatlantic networks that were constructed between a select group of composers, including Edvard Grieg, Edward MacDowell, and Percy Grainger, and the writers with whom they shared cosmopolitan affinities, including Arne Garborg, Hamlin Garland, Madison Grant, and Lathrop Stoddard. Each overlapping case study surveys the diachronic transmission of cosmopolitanism as well as the synchronic practices that animated these modernist ideas. Instead of taking a strictly chronological approach to organization, each chapter offers an examination of the different layers of identity that expanded and contracted in relation to a mutual interest in Nordic culture. From the burgeoning "universal" ambitions around 1900 to the darker racialized discourse of the 1920s, this study offers a critical analysis of both the idea and practice of cosmopolitanism in order to expose its common foundations aswell as the limits of its application.

Autorentext

Ryan R. Weber is Assistant Professor of Musicology at Misericordia University, USA, where he also serves on the faculty of the Medical and Health Humanities Program.  His research has appeared in the journals Ars Lyrica, Musicology Australia, Journal of Musicological Research, Nineteenth-Century Music Review, and others.

Klappentext

Cosmopolitanism and Transatlantic Circles in Music and Literature traces the transatlantic networks that were constructed between a select group of composers, including Edvard Grieg, Edward MacDowell, and Percy Grainger, and the writers with whom they shared cosmopolitan affinities, including Arne Garborg, Hamlin Garland, Madison Grant, and Lathrop Stoddard.  Each overlapping case study surveys the diachronic transmission of cosmopolitanism as well as the synchronic practices that animated these modernist ideas.  Instead of taking a strictly chronological approach to organization, each chapter offers an examination of the different layers of identity that expanded and contracted in relation to a mutual interest in Nordic culture.  From the burgeoning universal ambitions around 1900 to the darker racialized discourse of the 1920s, this study offers a critical analysis of both the idea and practice of cosmopolitanism in order to expose its common foundations as well as the limits of its application.

Zusammenfassung

Cosmopolitanism and Transatlantic Circles in Music and Literature traces the transatlantic networks that were constructed between a select group of composers, including Edvard Grieg, Edward MacDowell, and Percy Grainger, and the writers with whom they shared cosmopolitan affinities, including Arne Garborg, Hamlin Garland, Madison Grant, and Lathrop Stoddard.  Each overlapping case study surveys the diachronic transmission of cosmopolitanism as well as the synchronic practices that animated these modernist ideas.  Instead of taking a strictly chronological approach to organization, each chapter offers an examination of the different layers of identity that expanded and contracted in relation to a mutual interest in Nordic culture.  From the burgeoning universal ambitions around 1900 to the darker racialized discourse of the 1920s, this study offers a critical analysis of both the idea and practice of cosmopolitanism in order to expose its common foundations as well as the limits of its application.

Inhalt

Chapter 1: Introduction: Surveying Time, Place, and Space

            1.1  Cosmopolitan Creeds and Transatlantic Gestures: Intersections in Music and      Literature

                1.2  Circles of Influences, Triangles of Affinities: Widening the Scope of Investigation

            1.3 Cosmopolitan Dimensions: Conceptualizing Time and Space

            1.4  Taking Back the Discourse: The Utility of Conflict in Cosmopolitan Networks

            1.5  False Oppositions, Real Hybrids: Distance, Detachment, and the Problem of   Definitions             1.6  Outline of Chapters

2.  Chapter 2:  Local Debates, International Partnerships: Garborg, Benzon, and Grieg's Idea of Cosmopolitanism

            2.1  National Problems, Cosmopolitan Solutions: Timeless Principles or Emergent     Moments?

            2.2  Boundaries in Flux: The Polemics of a Country Divided

            2.3  The Language Debate and the Dialectic of Identity

            2.4  Courting the Other: Grieg's Both/And Affiliations

            2.5  Vinje and the Problem of Historicism

            2.6  From Literary Models to Musical Language: Grieg, Garborg, and the Path toward            Cosmopolitan Synthesis

3.  Chapter 3: From Songs to Psalms: Grieg's Cosmopolitan Aesthetic

            3.1   Universalism Found, Universalism Contested: Grieg, Benzon, and the Problem of         Locality

            3.2  Death and Despair as Universalizing Forces: Beside Mother's Grave, (Ved Moders     Grav) Op. 69, No. 3

            3.3  Cosmopolitan Conditions, Chromatic Techniques: Eros, Op. 70, No. 1             3.4  A System of Opposites or a Dialogue of Correspondences?

            3.5  Cosmopolitan Layers in Grieg's Last Published Works: Four Psalms, Op. 74

            3.6  Cosmopolitanizing the Nation: A Survey of Grieg's Additive Layers

4.  Chapter 4: Cosmopolitan Practices: Grieg, Grainger, and the Search for a Musical Analogue

            4.1  Late Songs, Early Meetings: Grieg, Grainger, and Cosmopolitan Ambitions     &nbs...