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Books > History > World history > From 1900 > Postwar, from 1945
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Performing Pain - Music and Trauma in Eastern Europe (Hardcover)
Loot Price: R1,697
Discovery Miles 16 970
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Performing Pain - Music and Trauma in Eastern Europe (Hardcover)
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Again and again people turn to music in order to assist them make
sense of traumatic life events. Music can help process emotions,
interpret memories, and create a sense of collective identity.
While the last decade has seen a surge in academic studies on
trauma and loss in both the humanities and social sciences, how
music engages suffering has not often been explored. Performing
Pain uncovers music's relationships to trauma and grief by focusing
upon the late 20th century in Eastern Europe. The 1970s and 1980s
witnessed a cultural preoccupation with the meanings of historical
suffering, particularly surrounding the Second World War and the
Stalinist era. Journalists, historians, writers, artists, and
filmmakers repeatedly negotiated themes related to pain and memory,
truth and history, morality and spirituality both during glasnost
and the years prior. In the copious amount of scholarship devoted
to cultural politics during this era, the activities of avant-garde
composers stands largely silent. Performing Pain considers how
works by Alfred Schnittke, Galina Ustvolskaya, Arvo Part, and
Henryk Gorecki musically address contemporary concerns regarding
history and suffering through composition, performance, and
reception. Drawing upon theories from psychology, sociology,
literary and cultural studies, this book offers a set of
hermeneutic essays that demonstrate the ways in which people employ
music in order to make sense of historical traumas and losses.
Seemingly postmodern compositional choices-such as quotation,
fragmentation, and stasis-provide musical analogies to
psychological and emotional responses to trauma and grief. The
physical realities of embodied performance focus attention on the
ethics of pain and representation while these works' inclusion as
film music interprets contemporary debates regarding memory and
trauma. Performing Pain promises to garner wide attention from
academic professionals in music studies as well as an
interdisciplinary audience interested in Eastern Europe and
aesthetic articulations of suffering.
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