The Mechanical Muse

Hugh Kenner, one of America's most distinguished critics, brings his customary wit and erudition to bear on a particularly provocative theme: the response of literary Modernism to a changing environment wrought by technology. In fascinating examinations of Eliot, Pound, Joyce, and Beckett, Kenner looks at how inventions like the linotype, the typewriter, the subway, and the computer altered the way the world was viewed and depicted. Kenner sheds new light on the works of these authors, while providing, almost incidentally, a wealth of anecdotes and asides that will delight the general reader and literary specialist alike.

Intended as a supplement to The Mechanical Muse: The Piano, Pianism and Piano Music, c.1760-1850, this Companion provides additional information which, largely for reasons of space but also of continuity, it was not possible or desirable to include in that volume. The book is laid out alphabetically and full biographical entries are provided for all musical figures mentioned, including composers, performers, theoreticians and teachers, as well as piano makers and publishers of music, within the period covered by The Mechanical Muse. There are also entries on figures of importance from outside the period but whose influence is palpably important within it, such as J.S. Bach. As well as biographical information, all these entries contain lists of principal works and a section on further reading so that readers can follow up people and matters of particular interest. Also included in The Companion are entries devoted to particular works and other information of relevance, such as descriptions of musical forms, characteristics of dances and so on, as well as some technical information on music and explanations of technical terms pertaining to keyboard instruments themselves and to ways of playing them. This Companion is not intended to replace existing reference books such as Grove or Musik in Geschichte und Gegenwart, but will be useful for those who desire to know more about a particular topic and do not necessarily have access to more specialist reference works, or time to visit large or specialist libraries. As such it is indispensable to users of The Mechanical Muse.

This book charts the piano's accession from musical curiosity to cultural icon, examining the instrument itself in its various guises as well as the music written for it. Both the piano and piano music were very much the product of the intellectual, cultural and social environments of the period and both were subject to many influences, directly and indirectly. These included character (individualism), the vernacular ('folk/popular') and creativity (improvisation), all of which are discussed generally and with respect to the music itself. Derek Carew surveys the most important pianistic genres of the period (variations, rondos, and so on), showing how these changed from their received forms into vehicles of Romantic expressiveness. The piano is also looked at in its role as an accompanying instrument. The Mechanical Muse will be of interest to anyone who loves the piano or the period, from the non-specialist to the music postgraduate.

This book charts the piano's accession from musical curiosity to cultural icon, examining the instrument itself in its various guises as well as the music written for it. Both the piano and piano music were very much the product of the intellectual, cultural and social environments of the period and both were subject to many influences, directly and indirectly. These included character (individualism), the vernacular ('folk/popular') and creativity (improvisation), all of which are discussed generally and with respect to the music itself. Derek Carew surveys the most important pianistic genres of the period (variations, rondos, and so on), showing how these changed from their received forms into vehicles of Romantic expressiveness. The piano is also looked at in its role as an accompanying instrument. The Mechanical Muse will be of interest to anyone who loves the piano or the period, from the non-specialist to the music postgraduate.

Music, race, politics, and conscience. In these eight essays written over the span of a decade and a half, T. R. Hummer explains how, for him, such abiding concerns revolve around the practice of poetry and the evolution of a culturally responsible personal poetics. Hummer writes about the suicide of poet Vachel Lindsay, the culture wars at the National Endowment for the Arts, the 1991 Persian Gulf War, the divided soul of his native American South, and the salving, transcendent practice of musicianship. Inevitably entwined with a personal or cultural component, Hummer's criticism is thus grounded in experience that is always familiar and often straight to the heart in its rightness. In one of those statements of "poetic purpose" that goes hand in hand with a residency, guest editorship, or lecture tour, Hummer once wrote that "poetry inhabits and enunciates an incommensurable zone between individual and collective, between body and body politic, an area very ill-negotiated by most of us most of the time. Our culture, with its emphasis on the individual mind and body, teaches us very little about how even to think about the nature of this problem. . . . E pluribus unum is a smokescreen: what pluribus; what unum? And yet this phrase is an American mantra, as if it explained something." This is a quintessential Hummer moment: a writer has just given himself a good reason to quit. What Hummer knows must happen next is what The Muse in the Machine is all about.

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"A writer who simply panders to the public is seldom taken for an artist. An artist who cannot publish is seldom granted a career. This dilemma, the subject of Muse in the Machine, has been home to many authors of serious fiction since the eighteenth century. But it is especially pointed for American writers, since the United States never fostered a sustainable elite culture readership. Its writers have always been reliant on mass publicity's machinery to survive; and when they depict that machinery, they also depict that reliance and the desire to transcend its banal formulas. This book looks at artist tales from Henry James to don DeLillo's Mao II, but also engages more indirect expressions of this tension between Romantic individualism and commercial requirements in Nathanael West, Vladimir Nabokov, and Thomas Pynchon. It covers the twentieth century, but its focus is not another rehearsal of "media theory" or word versus image. Rather, it aims to show how various novels "about" publicity culture also enact their authors' own dramas: how they both need and try to critique the "machine". In subject as well as approach, this study questions the current impasse between those who say that the aesthetic aspires to its own pure realm, and those who insist that it partakes of everyday practicality. Both sides are right; this book examines the consequences of that reality."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

Vol 1: This book charts the piano's accession from musical curiosity to cultural icon, examining the instrument itself in its various guises as well as the music written for it. Both the piano and piano music were very much the product of the intellectual, cultural and social environments of the period and both were subject to many influences, including: character, vernacular and creativity. Derek Carew surveys the most important pianistic genres of the period, showing how these changed from their received forms into vehicles of Romantic expressiveness. The Mechanical Muse will be of interest to anyone who loves the piano or the period, from the non-specialist to the music postgraduate. Vol 2: This Companion is intended as a supplement to The Mechanical Muse: The Piano, Pianism and Piano Music, c.1760-1850. The book is laid out alphabetically and full biographical entries are provided for all musical figures mentioned, including composers, performers, theoreticians and teachers, as well as piano makers and publishers of music, within the period covered by The Mechanical Muse. As well as biographical information, entries contain lists of principal works, a section on further reading, descriptions of musical forms and characteristics of dances. This Companion is indispensable to users of The Mechanical Muse.