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| Author | : Robert Orledge |
| Publisher | : Hal Leonard Corporation |
| Total Pages | : 284 |
| Release | : 1995 |
| Genre | : Biography & Autobiography |
| ISBN | : 9781574670004 |
Acquaintances, friends, fellow artists, and even antagonists share their recollections of the acknowledged leader of the French musical avant-garde. HARDCOVER.
| Author | : Mary E. Davis |
| Publisher | : Reaktion Books |
| Total Pages | : 192 |
| Release | : 2007-06-15 |
| Genre | : Music |
| ISBN | : 1861896026 |
A composer who dabbled in the Dada movement, a Bohemian “gymnopédiste” of fin-de-siècle Montmartre, and a legendary dresser known as “The Velvet Gentleman,” Erik Satie cut a unique figure among early twentieth-century European composers. Yet his legacy has largely languished in the shadows of Stravinsky, Debussy, and Ravel. Mary E. Davis now brings Satie to life in this fascinating new biography. Satie redefined the composer’s art, devising new methods of artistic expression that melded ordinary and rarified elements of words, visual art, and music. Davis argues that Satie’s modernist aesthetic was grounded in the contradictions of his life—such as enrolling in the conservative Schola Cantorum after working as a cabaret performer—and is reflected in his irreverent essays, drawn art, and music. Erik Satie explores how the composer was embraced by avant-garde artists and fashionable Parisian elite, and how his experiences inspired him to create the musical style of Neoclassicism. Satie also employed the power of the image through his infamous fashion statements, Davis contends, and became part of a nascent celebrity culture. A cogent and informative portrait, Erik Satie upends the accepted history of modernist music and restores the composer to his rightful pioneering status.
| Author | : Caroline Potter |
| Publisher | : Routledge |
| Total Pages | : 368 |
| Release | : 2016-05-13 |
| Genre | : Music |
| ISBN | : 1317141792 |
Erik Satie (1866-1925) was a quirky, innovative and enigmatic composer whose impact has spread far beyond the musical world. As an artist active in several spheres - from cabaret to religion, from calligraphy to poetry and playwriting - and collaborator with some of the leading avant-garde figures of the day, including Cocteau, Picasso, Diaghilev and René Clair, he was one of few genuinely cross-disciplinary composers. His artistic activity, during a tumultuous time in the Parisian art world, situates him in an especially exciting period, and his friendships with Debussy, Stravinsky and others place him at the centre of French musical life. He was a unique figure whose art is immediately recognisable, whatever the medium he employed. Erik Satie: Music, Art and Literature explores many aspects of Satie's creativity to give a full picture of this most multifaceted of composers. The focus is on Satie's philosophy and psychology revealed through his music; Satie's interest in and participation in artistic media other than music, and Satie's collaborations with other artists. This book is therefore essential reading for anyone interested in the French musical and cultural scene of the late nineteenth and early twentieth century.
| Author | : Herve Vanel |
| Publisher | : University of Illinois Press |
| Total Pages | : 217 |
| Release | : 2013-11-15 |
| Genre | : Music |
| ISBN | : 0252095251 |
Triple Entendre discusses the rise and spread of background music in contexts as diverse as office workplaces, shopping malls, and musical performance. Hervé Vanel examines background music in several guises, beginning with Erik Satie's "Furniture Music" of the late 1910s and early 1920s, which first demonstrated the idea of a music not meant to be listened to and was later considered a precedent to modern, functional background music. Vanel argues that when the Muzak Corporation's commercialized ambient music became a predominant feature of modern life in the 1940s--both as a brand and a genre of background music--it also became a powerful instrument of social engineering in an advanced capitalist society. Different kinds of music were developed to encourage or incite greater productivity in the workplace, more energetic shopping, or more animated socializing. Vanel's discussion culminates in the creative response of the composer John Cage to the pervasiveness and power of background music in contemporary society. Cage neither opposed nor rejected Muzak, but literally answered its challenge by formulating a parallel concept that he called "Muzak-Plus." Forty years after Satie presented his work to general critical puzzlement, Cage saw how background music could be combined with mid-century technology and theories of art and performance to create a participatory soundscape on a scale that Satie could not have envisioned, again reconfiguring the listener's stance to music. By examining the subterranean connections existing between these three formulations of a singular idea, Triple Entendre analyzes and challenges the crucial boundary that separates an artistic concept from its actual implementation in life.
| Author | : Steven Moore Whiting |
| Publisher | : Clarendon Press |
| Total Pages | : 610 |
| Release | : 1999-02-18 |
| Genre | : Music |
| ISBN | : 0191584525 |
Erik Satie (1866-1925) came of age in the bohemian subculture of Montmartre, with its artists' cabarets and cafés-concerts. Yet apologists have all too often downplayed this background as potentially harmful to the reputation of a composer whom they regarded as the progenitor of modern French music. Whiting argues, on the contrary, that Satie's two decades in and around Montmartre decisively shaped his aesthetic priorities and compositional strategies. He gives the fullest account to date of Satie's professional activities as a popular musician, and of how he transferred the parodic techniques and musical idioms of cabaret entertainment to works for concert hall. From the esoteric Gymnopédies to the bizarre suites of the 1910s and avant-garde ballets of the 1920s (not to mention music journalism and playwriting), Satie's output may be daunting in its sheer diversity and heterodoxy; but his radical transvaluation of received artistic values makes far better sense once placed in the fascinating context of bohemian Montmartre.
| Author | : Caroline Potter |
| Publisher | : Boydell & Brewer |
| Total Pages | : 305 |
| Release | : 2016 |
| Genre | : Art and music |
| ISBN | : 1783270837 |
Satie's music and ideas are inextricably linked with the City of Light. This book situates Satie's work within the context and sonic environment of contemporary Paris.
| Author | : Robert Orledge |
| Publisher | : Cambridge University Press |
| Total Pages | : 456 |
| Release | : 1990-10-26 |
| Genre | : Biography & Autobiography |
| ISBN | : 9780521350372 |
Erik Satie remains one of the most bizarre figures in music history, yet everything he did has its own curious logic, once it can be perceived. In this important new study Dr Orledge reveals what made Satie 'tick' as a composer, dealing with every aspect of Satie's complex career and relating his achievement to the other arts and to the society in which he lived. Almost every figure in contemporary art was involved with Satie in some way or another, from Matisse and Picasso to Apollinaire, Cocteau and Brancusi. This, however, is no mere life-and-works study but rather an exploration of the technique behind Satie's art, which foreshadowed most of the 'advances' of twentieth-century music from serialism to minimalism, and even muzak. As the book progresses Satie appears as far more than just the composer of the popular Gymnopédies and Parade.
| Author | : M. T. Anderson |
| Publisher | : Candlewick Press |
| Total Pages | : 48 |
| Release | : 2021-01-26 |
| Genre | : Juvenile Nonfiction |
| ISBN | : 1536220728 |
In a brilliant performance worthy of the composer, M. T. Anderson and Petra Mathers present a picture-book biography of the singular Erik Satie. Throughout his life, Erik Satie wanted to make a new kind of music, a kind of music both very young and very old, very bold and very shy, that followed no rules but its own. At first glance, Erik Satie looked as normal as anyone else in Paris one hundred years ago. Beyond his shy smile, however, was a mind like no other. When Satie sat down at the piano to compose or play music, his tunes were strange and dreamlike, his melodies topsy-turvy and discordant. Many people hated his music. Few understood it. But to Erik Satie there was sense in nonsense, and the vibrant, surreal compositions of this eccentric man-child would go on to influence many artists.
| Author | : Richard Taruskin |
| Publisher | : Oxford University Press |
| Total Pages | : 3856 |
| Release | : 2009-07-27 |
| Genre | : Music |
| ISBN | : 0199813698 |
The Oxford History of Western Music is a magisterial survey of the traditions of Western music by one of the most prominent and provocative musicologists of our time. This text illuminates, through a representative sampling of masterworks, those themes, styles, and currents that give shape and direction to each musical age. Taking a critical perspective, this text sets the details of music, the chronological sweep of figures, works, and musical ideas, within the larger context of world affairs and cultural history. Written by an authoritative, opinionated, and controversial figure in musicology, The Oxford History of Western Music provides a critical aesthetic position with respect to individual works, a context in which each composition may be evaluated and remembered. Taruskin combines an emphasis on structure and form with a discussion of relevant theoretical concepts in each age, to illustrate how the music itself works, and how contemporaries heard and understood it. It also describes how the c
| Author | : Guy Hartopp |
| Publisher | : Vernon Press |
| Total Pages | : 384 |
| Release | : 2019-02-15 |
| Genre | : Music |
| ISBN | : 1622736257 |
Paris, the City of Light, is one of the most romantic cities in the world. The millions of visitors which flock to the French capital every year follow in the footsteps of countless artists, writers and composers who for centuries have been drawn to this magnificent city. Some composers, Chopin and Rossini among them, found success and contentment, and remained in Paris for the rest of their lives. But for others, Paris brought nothing but disappointment and disillusionment. Mozart, who came to Paris as a 22-year-old seeking a permanent position, was so bitter about the cavalier manner in which he was treated that he professed an aversion to all things French until the end of his days. Wagner was so upset by his treatment here that he once described Paris as "a pit into which the spirit of the nation has subsided." And yet he was drawn back to the city time and again. This book charts the musical history of Paris. It discusses the composer and musicians, both French and foreign, who were drawn here and the impact they made on the world of music, on this great city, and vice versa. It includes a wealth of biographical details, including where the artists lived and, where relevant, where they died and are buried. It also draws from and points to suitable scholarly literature, making it an accessible introduction to students of the musical history of Paris. The book also describes another feature which, if it did not enrich, most certainly enlivened Parisian musical life: The full-scale musical riot. The most notorious of these took place at the Theatre des Champs Elysées in 1913 at the premiere of Stravinsky’s ballet Le sacre du printemps. Less physical, but no less vociferous, was the reception accorded to Wagner’s Tannhäuser at the Opéra in 1860. Other composers who incurred the displeasure of Parisian audiences included Satie, Varese and Xenakis. These riots were not half-hearted affairs; police involvement was required and hospital casualty departments were kept busy. There are also chapters which discuss the musical history of the many theatres of Paris and the churches which played such an important part in the city’s musical past. The text is clear and accessible in order to appeal to both students and the general reader.
