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Louisiana State University

1. Goldsmith, Melissa Ursula Dawn. Alban Berg's filmic music: intentions and extensions of the Film Music Interlude in the Opera Lula.

Degree: PhD, Music, 2001, Louisiana State University

The music composed to accompany the film in Berg’s Opera Lulu – the “Film Music Interlude” (FMI) – is the subject of this study. Although this is film music, and Berg wrote his own Film Music Scenario, scholars have ignored writings about film theory and film music in their historical and analytical treatments of the FMI. How do writings about film theory and film music apply to the analysis and exploration of historical and social contexts of the FMI, and what musical and extramusical intentions and extensions can be drawn from the FMI? Some answers come to light while exploring sources containing Berg’s correspondence with Schoenberg, Adorno, and Morgenstern as well as the biographies on Berg by Morgenstern and Erich Alban Berg. Other answers emerge through the analysis of filmic aspects of the FMI and from selecting and examining exceptional ideas found in writings about film theory and film music (from the early 1920s to 1937) as well as reviews about the FMI at the world premiere of the opera. Chapter 1 provides a serial analysis of the FMI as a self-contained piece, focusing on the palindromic musical structure, Berg’s serial procedures and use of liquidation, and the dramatic meaning. Chapter 2 examines how Berg employs characteristically cinematic techniques (dissolves, wipes, and graphic matches) in the FMI’s music. Chapter 3 explores early writings about film theory and film music by, among others, Balázs, Musil, Arnheim, London, Schoenberg,and Adorno and how their ideas apply to the FMI. Chapter 4 investigates and presents for the first time translations of selected passages from the reviews of the 1937 premiere by, among others, David, List, Milhaud, Peyser, Reich, and Schuh. Berg’s intellectual milieu included writers on film theory and film music and while composing the FMI he was interested in film and its potential for the New Music. The most important conclusions are that the FMI is filmic music, Berg employed an editing style for his putative montage, the FMI’s fictional film can be classified as a crime film, and the FMI at its premiere received more positive and neutral reviews than negative ones.

Subjects/Keywords: phenomenology; auteur; sir adrian boult; genre criticism; david headlam; charles gounod; commodity music; listening; kitsch; glückliche hand; begleitungsmusik; von heute auf morgen; benjamin fondane; double agents; vienna; body missing; cinema lighting; scenarist-composer; film editing; die weltbühne; audience; camera angle; film directing; sociological studies; georges altman; other condition; culture industry; festivals; magic lantern shows; immediate apprehension; exhibitions; roman clemens; ostinato; musical form; le boeuf sur le toit; george perle; semiotics; willi reich; fragment; louis giannetti; patricia hall; music analysis; dave headlam; edward cone; cinematography; filmography; fermata; midpoint; curtain music; dr. schön; symmetry; vivace; central axis; countess geschwitz; alwa; sempre agitato; calmando; tumultuoso; cinema spectatorship; ernst krenek; opera spectatorship; agitato; zurich stadtarchiv; berlin; sempre vivace; igor stravinsky; béla bartók; stadtarchiv zürich; tartuffe; maurice ravel; erik satie; christoph colomb; wozzeck; film content; alfred rosenzweig; hans haug; madeleine milhaud; figaro (serial publication); karl heinrich david; time (serial publication); paul stefan; wipes; news-week (serial publication); g. w. pabst; karl kraus; musical frames; rhythmic match; umberto eco; pandora's box; eüchse der pandora; frame; louise brooks; expressionism; lulu suite; narratology; frans mansreel; symphonic pieces from the opera lulu; otto falkenberg; filmmaking; erdgeist; continuity; cinema; aesthetics; 20th-century; the blue angel; jackie coogan; cinema music; oliver hardy; buster keaton; theodore storm; anton webern; erwin stein; winfried zillig; double roles; laurel and hardy; der blaue angel; the white horserider; film editing techniques; film spectatorship; establishing shots; stan laurel; silent film; musical performance; frames; camera shots; silent cinema; othmar schoeck; classicism; screen image; extreme; realism; film sequence; tempo (film production company); heinz rückert; hans rudolf meyer; formalism; bahrija nuri-hadzic; trumpet fanfare; peter baxevanos; dramaturgy; herbert blumer; asger stig; hanns eisler; der schimmelreiter; heinrich jalowetz; palindrome; motion picture; motion picture music; character representation; fade; zurich; fades; normal condition; immediacy; camera techniques; scenarist-director; documentary; murder; serial killer; philip m. hauser; women's studies; feminism; lesbianism; film noir; femme fatale; emotional possession; emotional detachment; b-grade film; universal edition; emil hertzka; alfred einstein; lantern slides; film projections; painting filmstrips; richard strauss; max horkheimer; shop girl

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

Goldsmith, M. U. D. (2001). Alban Berg's filmic music: intentions and extensions of the Film Music Interlude in the Opera Lula. (Doctoral Dissertation). Louisiana State University. Retrieved from etd-0415102-110441 ; https://digitalcommons.lsu.edu/gradschool_dissertations/2351

Chicago Manual of Style (16th Edition):

Goldsmith, Melissa Ursula Dawn. “Alban Berg's filmic music: intentions and extensions of the Film Music Interlude in the Opera Lula.” 2001. Doctoral Dissertation, Louisiana State University. Accessed March 26, 2019. etd-0415102-110441 ; https://digitalcommons.lsu.edu/gradschool_dissertations/2351.

MLA Handbook (7th Edition):

Goldsmith, Melissa Ursula Dawn. “Alban Berg's filmic music: intentions and extensions of the Film Music Interlude in the Opera Lula.” 2001. Web. 26 Mar 2019.

Vancouver:

Goldsmith MUD. Alban Berg's filmic music: intentions and extensions of the Film Music Interlude in the Opera Lula. [Internet] [Doctoral dissertation]. Louisiana State University; 2001. [cited 2019 Mar 26]. Available from: etd-0415102-110441 ; https://digitalcommons.lsu.edu/gradschool_dissertations/2351.

Council of Science Editors:

Goldsmith MUD. Alban Berg's filmic music: intentions and extensions of the Film Music Interlude in the Opera Lula. [Doctoral Dissertation]. Louisiana State University; 2001. Available from: etd-0415102-110441 ; https://digitalcommons.lsu.edu/gradschool_dissertations/2351

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