A shift in time: music and temporality in 1913 Paris
<p>Temporality is an integral—and often overlooked—aspect of music. This thesis seeks to understand the relationship between music and time. Rapid social, cultural and technological change affected the perception and experience of temporality in <em>fin de siècle</em> Paris. The ye...
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| Format: | Abschlussarbeit |
| Sprache: | English |
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2020
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| _version_ | 1826273243498020864 |
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| author | Davies, EA |
| author2 | Cross, J |
| author_facet | Cross, J Davies, EA |
| author_sort | Davies, EA |
| collection | OXFORD |
| description | <p>Temporality is an integral—and often overlooked—aspect of music. This thesis seeks to understand the relationship between music and time. Rapid social, cultural and technological change affected the perception and experience of temporality in <em>fin de siècle</em> Paris. The year 1913 offers a fascinating case study for understanding the plethora of cultural and musical reactions to these changes. To that end, this thesis draws on a range of primary and secondary sources such as journalistic texts, letters, notes, philosophical texts, visual arts, cinematic and musical sources, and makes use of interdisciplinary methodology, drawing upon historical musicology, socio-cultural history and philosophies of time.</p>
<p>This thesis presents a kaleidoscopic portrait of musical life in 1913 Paris. Chapters 1 and 2 examine time and space respectively—the former details definitions of time, while the latter explores Paris as a city of temporal change, looking at changes in transport and architecture and its impact on musical culture. Chapter 3 examines landscape and Satie’s relationship with time; Chapter 4 considers the connections between Bergson, Proust and Ravel; and Chapter 5 looks closely at parallels between early cinema and Debussy’s <em>Jeux</em>. Finally, Chapter 6 brings together these cultural and musical moments. It is in 1913 that we can see the consequences of this rapid period of change in musical terms as a palpable trend for the first time, rather than as individual moments. By using the example of 1913 Paris, this thesis proposes that there are useful parallels to be drawn between experiences of time and the cultural and musical manifestations of temporality.</p> |
| first_indexed | 2024-03-06T22:25:14Z |
| format | Thesis |
| id | oxford-uuid:5672fce1-6bac-4ac6-bc9d-7690a6ed81f8 |
| institution | University of Oxford |
| language | English |
| last_indexed | 2024-03-06T22:25:14Z |
| publishDate | 2020 |
| record_format | dspace |
| spelling | oxford-uuid:5672fce1-6bac-4ac6-bc9d-7690a6ed81f82022-03-26T16:50:16ZA shift in time: music and temporality in 1913 ParisThesishttp://purl.org/coar/resource_type/c_db06uuid:5672fce1-6bac-4ac6-bc9d-7690a6ed81f81913Musical cultureTemporalityEnglishORA Deposit2020Davies, EACross, J<p>Temporality is an integral—and often overlooked—aspect of music. This thesis seeks to understand the relationship between music and time. Rapid social, cultural and technological change affected the perception and experience of temporality in <em>fin de siècle</em> Paris. The year 1913 offers a fascinating case study for understanding the plethora of cultural and musical reactions to these changes. To that end, this thesis draws on a range of primary and secondary sources such as journalistic texts, letters, notes, philosophical texts, visual arts, cinematic and musical sources, and makes use of interdisciplinary methodology, drawing upon historical musicology, socio-cultural history and philosophies of time.</p> <p>This thesis presents a kaleidoscopic portrait of musical life in 1913 Paris. Chapters 1 and 2 examine time and space respectively—the former details definitions of time, while the latter explores Paris as a city of temporal change, looking at changes in transport and architecture and its impact on musical culture. Chapter 3 examines landscape and Satie’s relationship with time; Chapter 4 considers the connections between Bergson, Proust and Ravel; and Chapter 5 looks closely at parallels between early cinema and Debussy’s <em>Jeux</em>. Finally, Chapter 6 brings together these cultural and musical moments. It is in 1913 that we can see the consequences of this rapid period of change in musical terms as a palpable trend for the first time, rather than as individual moments. By using the example of 1913 Paris, this thesis proposes that there are useful parallels to be drawn between experiences of time and the cultural and musical manifestations of temporality.</p> |
| spellingShingle | 1913 Musical culture Temporality Davies, EA A shift in time: music and temporality in 1913 Paris |
| title | A shift in time: music and temporality in 1913 Paris |
| title_full | A shift in time: music and temporality in 1913 Paris |
| title_fullStr | A shift in time: music and temporality in 1913 Paris |
| title_full_unstemmed | A shift in time: music and temporality in 1913 Paris |
| title_short | A shift in time: music and temporality in 1913 Paris |
| title_sort | shift in time music and temporality in 1913 paris |
| topic | 1913 Musical culture Temporality |
| work_keys_str_mv | AT daviesea ashiftintimemusicandtemporalityin1913paris AT daviesea shiftintimemusicandtemporalityin1913paris |