MUSIC FOR POLITICAL ACTION
ex. 9-16 Paul Hindemith, Neues vom Tage, Bathtub Aria
The result is a kind of panorama of contemporary mores, mocking to be sure but not indignant: the opera colludes with the butts of its own satire, affording its own public the kind of titillation the libretto ostensibly condemns, and ensuring a good (yes, and lucrative) reception. Was that hypocrisy or just good fun? Here the consternation came not just from the right, as with Jonny spielt auf, but from the left as well. For in Weimar Germany there were many who felt that the newly detached and ironic brand of art that went by the name of neue Sachlichkeit, well suited as it was to social comment, had to justify its existence by virtue of a worthy social purpose, and that meant more than fun.
- Citation (MLA):
- Richard Taruskin. "Chapter 9 Lost—or Rejected—Illusions." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 21 Oct. 2019. <https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-009008.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 9 Lost—or Rejected—Illusions. In Oxford University Press, Music in the Early Twentieth Century. New York, USA. Retrieved 21 Oct. 2019, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-009008.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 9 Lost—or Rejected—Illusions." In Music in the Early Twentieth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 21 Oct. 2019, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-009008.xml
