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The late Daniel Albright was one of the preeminent scholars of musical and literary modernism, leaving behind a rich body of work before his untimely passing. In the essays contained in Music's Monisms, he shows how musical phenomena, like literary ones, can be fruitfully investigated through the lens of monism, the philosophical belief that things that appear to be two are actually one. Albright shows how, in music, despite its many binaries-...

How do you rationally connect the diverse literature, music, and painting of an age? Throughout the modernist era - which began roughly in 1872 with the Franco-Prussian War, climaxed with the Great War, and ended with a third catastrophe, the Great Depression - there was a special belligerence to this question. It was a cultural period that envisioned many different models of itself: to the Cubists, it looked like a vast jigsaw puzzle, to the ...

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From its dissonant musics to its surrealist spectacles (the urinal is a violin!), Modernist art often seems to give more frustration than pleasure to its audience. In "Untwisting the Serpent, " Daniel Albright shows that this perception arises partly because we usually consider each art form in isolation, even though many of the most important artistic experiments of the Modernists were collaborations involving several media--Igor Stravinsky's...

Aims to contribute to Berlioz studies, to studies of the Romantic Movement, and to the field of comparative arts. This title focuses on original text ("Romeo and Juliet and Faust" ) as well as to the musical adaptation. It suggests many analogues in the operatic world which Berlioz knew - the world of Gluck, Mozart, Mehul, Spontini, and Cherubini.

As a young man, Samuel Beckett (1906-89) hoped that writing could provide psychic authenticity and true representation of the physical world. Instead, he found himself immersed in artificialities and self-enclosed word games. Daniel Albright argues that Beckett sought escape through allegories of artistic frustration and the art of non-representation and estrangement. Albright depicts Beckett experimenting with the concept that an artistic med...

Daniel Albright gathers parables, poems, dreams, translations, written during a three-year period following the death of his father. Together, these form a moving record of a time of trouble, a tribute to people and objects lost, as well as offering a way of deflecting or evading even greater and less knowable harm. Accompanied by artwork by the poet and artist Peter Sacks, the cahier is an attempt to translate private experiences into somethi...

How do you rationally connect the diverse literature, music, and painting of an age? Throughout the modernist era - which began roughly in 1872 with the Franco-Prussian War, climaxed with the Great War, and ended with a third catastrophe, the Great Depression - there was a special belligerence to this question. It was a cultural period that envisioned many different models of itself: to the Cubists, it looked like a vast jigsaw puzzle, to the ...

While comparative literature is a well-recognized field of study, the notion of comparative arts remains unfamiliar to many. In this book, the author addresses the fundamental question of comparative arts: are there many different arts, or is there one art which takes different forms?

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Explores the complex intersection between science and poetry in the work of Yeats, Eliot and Pound.

Demonstrates how Purcell, Berlioz, Verdi, and Britten, responding to Shakespeare's juxtaposition of contrasting theatrical styles, devised music dramas that call opera into question.

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A collection of essays on music and dance that probe the problems of articulating the meaning(s) of music, the larger question of how music and language interact, and, how text-setting highlights certain areas of meter, theme, or ironic undertone, and leaves others in darkness.

Explores the complex intersection between science and poetry in the work of Yeats, Eliot and Pound.