Music, Noise, and the First World War in Ford Madox Ford's Parade's End
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Parade's End registers the potential and necessity for a transition in conceptions of music informed by new sounds experienced during the First World War. In the trenches, Tietjens interprets a bombardment as a Wagnerian orchestra, encouraging contemplation of where and why demarcation lines between music and noise are drawn, as well as reflection on the utopian project of Wagner's Gesamtkunstwerk (Total Art-Work). Ford's tetralogy has a significant contribution to make towards understanding how writers were navigating the impact of noise on music in the early twentieth century.
2020 ◽
Vol 9
(4)
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pp. 22-33
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2007 ◽
Vol 4
(1)
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pp. 95-107
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2021 ◽
Vol 66
(1)
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pp. 60-69
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2019 ◽
pp. 64-78
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2007 ◽
Vol 1
(2)
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