10.1525/luminos.57

Middlebrow Modernism

Abstract

Situated at the intersection between the history, historiography and aesthetics of twentieth-century music, this study uses Benjamin Britten’s operas to illustrate the ways in which composers, critics and audiences mediated the “great divide” between modernism and mass culture. Reviving mid-century discussions of the “middlebrow,” Chowrimootoo demonstrates how these works allowed audiences to have their modernist cake and eat it: to revel in the pleasures of consonance, lyricism and theatrical spectacle, even while enjoying the prestige that came from rejecting them. By focusing on moments when reigning aesthetic oppositions and hierarchies threatened to collapse, Middlebrow Modernism offers a powerful model for recovering shades of grey in the black-and-white historiographies of twentieth-century music

Similar works

Full text

thumbnail-image

OAPEN Library

Provided a free PDF
oai:library.oapen.org:20.500.12657/27544Last time updated on 10/2/2020View original full text link

This paper was published in OAPEN Library.

Having an issue?

Is data on this page outdated, violates copyrights or anything else? Report the problem now and we will take corresponding actions after reviewing your request.