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dc.contributor.authorChowrimootoo, Christopher
dc.date.accessioned2018-11-15 12:40:14
dc.date.accessioned2020-04-01T11:56:39Z
dc.date.available2020-04-01T11:56:39Z
dc.date.issued2018
dc.identifier1002460
dc.identifierOCN: 1083011884en_US
dc.identifier.urihttp://library.oapen.org/handle/20.500.12657/27544
dc.description.abstractSituated at the intersection between the history, historiography and aesthetics of twentieth-century music, this study 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,” Chowrimootoo demonstrates how these 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, Middlebrow Modernism offers a powerful model for recovering shades of grey in the black-and-white historiographies of twentieth-century music.
dc.languageEnglish
dc.subject.classificationthema EDItEUR::A The Arts::AV Musicen_US
dc.subject.othermiddlebrow
dc.subject.othermodernism
dc.subject.othermass culture
dc.subject.otherBenjamin Britten
dc.subject.otheraesthetics
dc.subject.otherhistoriography
dc.subject.othercriticism
dc.subject.otheropera
dc.subject.otherambivalence
dc.subject.otherduplicity
dc.titleMiddlebrow Modernism
dc.title.alternativeBritten’s Operas and the Great Divide
dc.typebook
oapen.identifier.doi10.1525/luminos.57
oapen.relation.isPublishedBy72f3a53e-04bb-4d73-b921-22a29d903b3b
oapen.relation.isbn9780520298651
oapen.pages245
oapen.place.publicationOakland
oapen.identifier.ocn1083011884


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