Decadence in Central and Eastern European Music, c.1870-1920

这项研究旨在填补音乐学的空白，仍然在我们的理解如何颓废作为一个想法，风格，姿势或主题在十九世纪末和二十世纪初的中欧和东欧音乐的功能。一旦出版，这将是第一本专门研究这一主题的书。事实上，总的来说，颓废在这些政治/文化背景中的作用仍然比法国或英国的品种少得多，当然，这些品种经常成为德国、奥地利、匈牙利、捷克土地、波兰和俄罗斯艺术家的榜样或刺激。在哈布斯堡、普鲁士和沙皇俄国帝国最后几年的政治气候中，颓废获得了新的、至关重要的共鸣。反过来，这些中欧和东欧的堕落物种以复杂的方式相互影响、相互影响和相互抵制。音乐在这种地域分散和对颓废的重新定义中的作用，作为作曲的人工制品、媒介、隐喻或灵感，往往是至关重要的。研究方法包括音乐风格和结构的密切分析，诠释学解释，阅读同时代的批评和理论，并将音乐与更广泛的艺术趋势。它涵盖了熟悉的剧目（瓦格纳、施特劳斯、沃尔夫、勋伯格、斯克里亚宾）、正在崛起的剧目（西曼诺夫斯基、施雷克）、流行但在音乐学上被忽视的剧目（拉赫玛尼诺夫）和晦涩难懂的剧目（尼采的音乐、波兰作曲家卡洛维茨）。

This research aims to fill the musicological gaps that remain in our understanding of how decadence as an idea, style, pose or topic functioned in Central and Eastern European music of the late nineteenth and early twentieth centuries. When published it will be the first book-length study devoted to this topic. Indeed, in general, the role of decadence in these political/cultural contexts remains rather less explored than the French or British varieties which often, of course, functioned as models or stimuli for artists working in Germany, Austria, Hungary, the Czech lands, Poland and Russia. In the political climate of the final years of the Habsburg, Prussian, and Tsarist Russian Empires, decadence acquired new and crucial resonances. In turn, these Central and East European species of decadence interacted, influenced and resisted each other in complex ways. Music's role within this geographical dispersion and redefinition of decadence, as compositional artefact, medium, metaphor or inspiration, was often crucial. The research method involves close analysis of musical style and structure, hermeneutic interpretation, the reading of contemporaneous criticism and theory, and relating music to wider artistic trends. It covers repertory that is familiar (Wagner, Strauss, Wolf, Schoenberg, Scriabin), that whose profile is rising (Szymanowski, Schreker), the popular but musicologically neglected (Rachmaninov) and the obscure (Nietzsche's music, the Polish composer Karlowicz).