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A free ebook version of this title is available through Luminos,
University of California Press's Open Access publishing program.
Visit www.luminosoa.org to learn more. Situated at the
intersections of twentieth-century music history, historiography,
and aesthetics, Middlebrow Modernism uses Benjamin Britten's operas
to illustrate the ways in which composers, critics, and audiences
mediated the "great divide" between modernism and mass culture.
Reviving mid-century discussions of the middlebrow, Christopher
Chowrimootoo demonstrates how Britten's works allowed audiences to
have their modernist cake and eat it: to revel in the pleasures of
consonance, lyricism, and theatrical spectacle even while enjoying
the prestige that came from rejecting them. By focusing on moments
when reigning aesthetic oppositions and hierarchies threatened to
collapse, this study offers a powerful model for recovering shades
of grey in the traditionally black-and-white historiographies of
twentieth-century music.
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