During the modern period, the bond between music and literature constituted a crucial and influential idea for Conrad and Eliot, Mann and Rilke, and many other writers. For modern novelists in particular this idea has provided the model and rationale for the experimental liberation of narrative form and its desired effect on the reader. Critics later in the twentieth century have undertaken analyses of various contrapuntal, sonata, and other musical structures in fiction, and some critics have studied the influence of various composers on novelists. Fullness of Dissonance is concerned with the related matter of how the aesthetics of music influenced the writers and texts of modern fiction.

This book studies the ways Hardy writes about music, and argues that this focus allows for a close and varied investigation of the affective dimensions of his poetry and fiction, and his recurrent preoccupations with time, community and love. Throughout his work Hardy associates music with moments of individual expression and relatedness. For him, music provokes a response to life that is inseparable from what gives life value, as well as being incompatible with his increasingly conscious vision of personal and social limitation. The first two chapters trace how this ironic disjunction is evident in the novels and the tales, while exploring in detail how they represent and evoke the spiritual and emotional transports of musical experience. In a corresponding way, the third and fourth chapters concentrate on how, within the poetry, music works as a vehicle of inspiration and memory, recurrently surprising the conscious self with intimations of other potentials of expression. In the fifth chapter, the focus falls on Hardy's own philosophical reading, and thus on his notebooks and letters, so as to revisit in an altered context many of the issues that have been opened up by the book's emphasis on his literary representations of musical experience-issues of individuality, of unconscious and bodily experience, of literary language. Finally, although the book does incorporate some biographical detail about Thomas Hardy's lifelong passion for playing and collecting music, it predominantly works through close reading, while also drawing at points on literary theoretical texts, where these offer ways of articulating the broad questions of literary convention and representation that arise.

Drawing on the insights of lyric poetic theory, this book offers a fresh reading of Second Isaiah. This approach advances an argument that the tensive and conflicted divine voice is primary unifying factor in the sequence of poems.

This book explores the stupid as it manifests in media—the cinema, television and streamed content, and videogames. The stupid is theorized not as a pejorative term but to address media that “fails” to conform to established narrative conventions, often surfacing at evolutionary moments. The Transformers franchise is often dismissed as being stupid because its stylistic vernacular privileges kinetic qualities over conventional narration. Similarly, the stupid is often present in genre fails like mother!, or in instances of narrative dissonance—joyously in Adventure Time; more controversially in Gone Home— where a story “feels off” It also manifests in “ludonarrative dissonance” when gameplay and narrative seemingly run counter to one another in videogames like Undertale and Bioshock. This book is addressed to those interested in media that is quirky, spectacle-driven, or generally hard to place—stupid!

Jacobus Kloppers, an eminent composer, organist, pedagogue, and scholar, significantly contributed to musicological and organ teaching in South Africa and Canada and, in the latter context, art music, and liturgical composition. A Passage of Nostalgia – The Life and Work of Jacobus Kloppers, as a symbolic gesture, constitute recognition of his work both in South Africa and Canada. This publication is unique in that, apart from relevant disciplinary perspectives, biographical and autobiographical narrative, and anecdote, all constitute a necessary means through which the authors illuminate Kloppers’ compositional process and its creative outcomes. In this regard, Kloppers generously dedicated his time to the project to make information on his life and work available, often in complex ways. This retrospective input supports the work offered as an authentic, self-reflective recounting of a life of dedicated service in music. The construct of nostalgia as an overarching theme to this volume on some level denotes Kloppers’ position of cultural and religious ‘insidedness’ and ‘outsidedness’. However, apart from representing a return to a lost and challenging past, the composer’s creative work affirms his individuality, sense of artistic self, and propensity for spiritual acceptance and tolerance. Moreover, nostalgia in his oeuvre takes on importance as a rhetorical artistic practice by which continuity is as central as discontinuity.

Music can answer questions that often confound more discursive modes of thought. Music takes concepts that are all too familiar, reframes these concepts, and returns them to us with incisive clarity and renewed vision. Unity is one of these "all too familiar concepts," thrown around by politicians, journalists, and pastors as if we all know what it means. By turning to music, especially musical space, the relational structure of unity becomes less abstract and more tangible within our philosophy. Arnold Schoenberg, as an inherently musical thinker, is our guide in this study of unity. His reworking of musical structure, dissonance, and metaphysics transformed the tonal language and aesthetic landscape of twentieth-century music. His philosophy of compositional unity helps us to deconstruct and reconceive how unity can be understood and worked with both aesthetically and theologically. This project also critiques Schoenberg's often monadic musical metaphysic by turning to Colin Gunton's conviction that the particularity and unity at the heart of God's triune being should guide all of our theological endeavors. Throughout, music accompanies our thinking, demonstrating not only how theology can benefit the philosophy of music but also how the philosophy of music can enrich and augment theological discourse.

The Who were one of the most memorable and influential of the 1960s British Invasion bands—memorable because of their loudness and because they destroyed instruments during performances, and influential because of their success in crafting “Power Pop” singles like “My Generation” and “I Can See for Miles,” long-playing albums Live at Leeds and Who’s Next, and the “rock operas” Tommy and Quadrophenia. The themes that principal songwriter Pete Townshend imparted into The Who’s music drew upon the group’s mostly working-class London upbringings and early Mod audiences: frustration, angst, irony, and a youthful inclination to lash out. Like some of his rock and roll contemporaries, Townshend was also affected by religious ideas coming from India and the existential dread he felt about the possibility of nuclear war. During a career that spanned three decades, The Who gave their fans and rock critics a lot to think about. The remarkable depth and breadth of The Who’s music and their story as one of the most exciting and provocative rock bands over the last half-century are the subjects of the philosophical explorations in this collection.

Innovations in music technology bring with them a new set of challenges for describing and understanding the electroacoustic repertoire. This edited collection presents a state-of-the-art overview of analysis methods for electroacoustic music in this rapidly developing field. The first part of the book explains the needs of differing electroacoustic genres and puts forward a template for the analysis of electroacoustic music. Part II discusses the latest ideas in the field and the challenges associated with new technologies, while Part III explores how analyses have harnessed the new forces of multimedia, and includes an introduction to new software programme EAnalysis, which was created by the editors as the result of an Arts and Humanities Research Council grant. The final part of the book demonstrates these new methods in action, with analyses of key electroacoustic works from a wide range of genres and sources.