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Music, Noise, and the First World War in Ford Madox Ford's Parade's End

Music, Noise, and the First World War in Ford Madox Ford's Parade's End <jats:p> Parade's End registers the potential and necessity for a transition in conceptions of music informed by new sounds experienced during the First World War. In the trenches, Tietjens interprets a bombardment as a Wagnerian orchestra, encouraging contemplation of where and why demarcation lines between music and noise are drawn, as well as reflection on the utopian project of Wagner's Gesamtkunstwerk (Total Art-Work). Ford's tetralogy has a significant contribution to make towards understanding how writers were navigating the impact of noise on music in the early twentieth century. </jats:p> http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Modernist Cultures Edinburgh University Press

Music, Noise, and the First World War in Ford Madox Ford's Parade's End

Modernist Cultures , Volume 12 (1): 59 – Mar 1, 2017

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Publisher
Edinburgh University Press
Copyright
© Edinburgh University Press 2017
Subject
Articles; Film, Media and Cultural Studies
ISSN
2041-1022
eISSN
1753-8629
DOI
10.3366/mod.2017.0156
Publisher site
See Article on Publisher Site

Abstract

<jats:p> Parade's End registers the potential and necessity for a transition in conceptions of music informed by new sounds experienced during the First World War. In the trenches, Tietjens interprets a bombardment as a Wagnerian orchestra, encouraging contemplation of where and why demarcation lines between music and noise are drawn, as well as reflection on the utopian project of Wagner's Gesamtkunstwerk (Total Art-Work). Ford's tetralogy has a significant contribution to make towards understanding how writers were navigating the impact of noise on music in the early twentieth century. </jats:p>

Journal

Modernist CulturesEdinburgh University Press

Published: Mar 1, 2017

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