Symphonic Spectacles
Form, Identity, and Hybridity in the Early Twentieth Century
Series: Oxford Studies in Music Theory;
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Product details:
- Publisher OUP USA
- Date of Publication 11 August 2025
- ISBN 9780197691083
- Binding Hardback
- No. of pages328 pages
- Size 226x163x27 mm
- Weight 612 g
- Language English
- Illustrations 97 686
Categories
Short description:
How did composers in the early twentieth century combine traditional approaches to musical structure? In Symphonic Spectacles author Sam Reenan presents a set of case studies, using works by Strauss, Beach, Ellington, and Mahler among others to show readers how analyses of these works can tease apart the compositional design and reception histories of each piece. The book makes these comprehensive analyses even more relevant by including discussion of how the musical works reflect aspects of their composers' identities within their historical contexts.
MoreLong description:
Symphonic music of the early twentieth century reflects the complex, cosmopolitan world it inhabited. In a time of waning empire, rising nationalism, and heightened sexual politics, composers in Germany, Britain, and America drew upon the compositional resources of tradition to create intensely personal symphonic spectacles. The hybrid symphonic works that flourished in this period mixed musical forms and genres freely, adapting compositional procedures for their rhetorical potential. Symphonic Spectacles investigates large-scale formal mixture in six case studies that juxtapose works of the Austro-German symphonic canon with lesser-studied pieces by a diverse array of composers, including Strauss, Beach, Ellington, and Mahler. Sam Reenan proposes a creative analytical framework rooted in the analogy between formal hybridity and intersectional identity, which affords new interpretive possibilities that integrate formal analysis with critical consideration of compositional design, reception history, and subjectivity.
Considering influential scholarship from the new Formenlehre, literary genre studies, and theories of race, gender, and sexuality, Reenan's analytical approach favors playfully creating new stories over gatekeeping bygone ones. This book combines manuscript evidence, composer commentary, historical and biographical details, and published music criticism, all factors which contribute to comprehensive formal interpretations. Symphonic Spectacles represents not only a collection of studies in hybrid symphonic form, but also a model for countercanonic means of knowledge production in the field of music analysis.
Table of Contents:
Structure, Spectacle, Symphony
Genres, Systems, Networks: Intersections with Formal Analysis
Form, Drama, and Gender Politics in Strauss’s Eine Alpensinfonie
Cyclic Form and Programmaticism in Beach’s “Gaelic” Symphony
Imposed Sonata Form in “Black” from Ellington’s Black, Brown & Beige
The Symphonic Voice as Woman’s Work in Smyth’s The Prison
Repetition and Spectatorship in Coleridge-Taylor’s Hiawatha’s Wedding Feast
Multidimensionality in Mahler’s Eighth Symphony
Appendix: Catalogue of Published Rehearsal Numbers
