Titlebook: D.H. Lawrence, Music and Modernism; Susan Reid Book 2019 The Editor(s) (if applicable) and The Author(s), under exclusive licence to Sprin

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parallelism

Creditee

Carlos H. Rojas-Fernandez BSc(Pharm), PharmD American songs to create “New World” music that is more comparable with the Aztec compositions of Carlos Chávez or the corporealism of Harry Partch than with the “American” music of Antonín Dvořák or Aaron Copland.

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Myofibrils

Book 2019iting, while also situating Lawrence within a growing body of work on music and modernism. A twin focus considers the music that shaped Lawrence’s novels and poetry, as well as contemporary developments in music that parallel his quest for new forms of expression. Comparisons are made with the music

礼节

Book 2019r, Hardy, Hueffer (Ford), Nietzsche and Pound. Above all, by exploring Lawrence and music in historical context, this study aims to open up new areas for study and a place for Lawrence within the field of music and modernism..

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Addictive

,Lawrence’s Case of Wagner: , and ,as espoused by Ford Madox Hueffer, Thomas Mann, George Moore, and H.G. Wells, a key theme that recurs throughout this book. His first novel . drew instead on Bizet’s ., praised by Nietzsche as “the opposite of Wagner”, while his critique of leitmotif in his review of “German Books” also bears striki

Narrative

,“Between Heaven and Earth”: Space, Music, and Religion in ,oustic model suggested by the analogy of Chladni patterns of sound waves in sand. A structure of widening circles (akin to sound waves) takes an opposite trajectory to Wagner’s retreat from the outside world in . (1881), while acoustic patterns of repetition and stasis at the level of language paral