What is the significance of noise in modernist music and literature? When Stravinsky’s Rite of Spring premiered in Paris in 1913, the crowd rioted in response to the harsh dissonance and jarring rhythms of its score. This was noise, not music. In Sublime Noise, Josh Epstein examines the significance of noise in modernist music and literature. How—and why—did composers and writers incorporate the noises of modern industry, warfare, and big-city life into their work? Epstein argues that, as the creative class engaged with the racket of cityscapes and new media, they reconsidered not just the aesthetic of music but also its cultural effects. Noise, after all, is more than a sonic category: it is a cultural value judgment—a way of abating and categorizing the sounds of a social space or of new music. Pulled into dialogue with modern music’s innovative rhythms, noise signaled the breakdown of art’s autonomy from social life—even the “old favorites” of Beethoven and Wagner took on new cultural meanings when circulated in noisy modern contexts. The use of noise also opened up the closed space of art to the pressures of publicity and technological mediation. Building both on literary cultural studies and work in the “new musicology,” Sublime Noise examines the rich material relationship that exists between music and literature. Through close readings of modernist authors, including James Joyce, T. S. Eliot, Edith Sitwell, E. M. Forster, and Ezra Pound, and composers, including George Antheil, William Walton, Erik Satie, and Benjamin Britten, Epstein offers a radically contemporary account of musical-literary interactions that goes well beyond pure formalism. This book will be of interest to scholars of Anglophone literary modernism and to musicologists interested in how music was given new literary and cultural meaning during that complex interdisciplinary period.

This groundbreaking study explores the formative influence of classical music on Woolf's writing, illustrating the importance of music to Woolf's domestic, social and creative lives.

If you enjoy great music but want to know more about how it came to be the way it is - without investing time in a graduate degree - here are the background stories of over 200 great compositions. If you're only just coming to experiment with great music, here are guideposts to help you understand and enjoy what you encounter. The stories and sounds behind the scenes: welcome to Classical Music Insights.

This book examines the political resonances of E. M. Forster's representations of music, offering readings of canonical and overlooked works. It reveals music's crucial role in his writing and draws attention to a previously unacknowledged eclecticism and complexity in Forster's ideological outlook. Examining unobtrusive musical allusions in a variety of Forster's writings, this book demonstrates how music provided Forster with a means of reflecting on race and epistemology, material culture and colonialism, literary heritage and national character, hero-worship and war, and gender and professionalism. It unveils how Forster's musical representations are mediated through a matrix of ideas and debates of his time, such as those about evolution, empire, Britain's relationship with the Continent, the rise of fascism, and the emergence of musicology as an academic discipline.

What can the sounds of today tell us about the future? Can an analysis of sound and sonic practices allow us to make reliable predictions in relation to wider social phenomena? And what might they tell us about technology in a world where futurology is such a frenzied and busy field? In order to answer these questions, this book tests a range of propositions that connect noise, sound and music to political, economic and technological events. Hence it is a book about historical trajectories and conflicting ideas about time and the necessity to re-contextualize and interpret them in the digital age.