"Music abounds in twentieth- century Irish literature. Whether it be the ""thought-tormented"" music of Joyce’s ""The Dead"", the folk tunes and opera that resound throughout Ulysses, or the four- part threnody in Beckett’s Watt, it is clear that the influence of music on the written word in Ireland is deeply significant. Samuel Beckett arguably went further than any other writer in the incorporation of musical ideas into his work. Musical quotations inhabit his texts, and structural devices such as the da capo are metaphorically employed. Perhaps most striking is the erosion of explicit meaning in Beckett’s later prose brought about through an extensive use of repetition, influenced by his reading of Schopenhauer’s philosophy of music. Exploring this notion of ""semantic fluidity"", John McGrath discusses the ways in which Beckett utilised extreme repetition to create texts that operate and are received more like music. Beckett’s writing has attracted the attention of numerous contemporary composers and an investigation into how this Beckettian ""musicalized fiction"" has been retranslated into contemporary music forms the second half of the book. Close analyses of the Beckett- inspired music of experimental composer Morton Feldman and the structured improvisations of avantjazz guitarist Scott Fields illustrate the cross- genre appeal of Beckett to musicians, but also demonstrate how repetition operates in diverse ways. Through the examination of the pivotal role of repetition in both music and literature of the twentieth century and beyond, John McGrath’s book is a significant contribution to the field of Word and Music Studies."
By:
John McGrath
Imprint: Routledge
Country of Publication: United Kingdom
Dimensions:
Height: 234mm,
Width: 156mm,
Weight: 453g
ISBN: 9780367881504
ISBN 10: 0367881500
Pages: 178
Publication Date: 12 December 2019
Audience:
College/higher education
,
General/trade
,
Primary
,
ELT Advanced
Format: Paperback
Publisher's Status: Active
1. Music and Literature 2. Repetition in Music and Literature 3. Musico-literary Interaction in Modern Ireland and the Musical Aesthetic of Samuel Beckett 4. Beckett’s Semantic Fluidity: Repetition in the Later Work 5. Beckett and Feldman: Time, Repetition and the Liminal Space 6. Improvising Beckett: Chance, Silence and Repetition
John McGrath is a lecturer in Music at University of Surrey.
Reviews for Samuel Beckett, Repetition and Modern Music
Samuel Beckett's experiments at the intersection of music and literature are among the most unique and interesting of their kind. McGrath's study contributes new elements to our understanding of Beckett's work in this area, particularly in its potential to enrich the thinking of musicians and composers. Not just a book on Beckett, it makes Beckett the starting point for a number of fruitful meditations on repetition, representation, improvisation, and structural experimentation in the arts. The chapters on Morton Feldman and Scott Fields are especially welcome in this regard. Erci Prieto, University of California, Santa Barbara, USA John McGrath's Samuel Beckett, Repetition and Modern Music is the newest scholarly entry on this subject and a valuable addition for the critical insights it provides through meticulous analyses. The fundamental idea underlying McGrath's research is his concept of Beckett's semantic fluidity, a writing style that accommodates and encourages readers to bring their own ideas and perspectives into the work. Michael Palmese, Louisiana State University, USA McGrath's volume provides a valuable contribution to Beckettian scholarship and drama academics, as well as offering a new framework theorizing repetition, which may be of interest to a wide range of music scholars working in the analysis of 20th and 21st century genres from the avant-garde, minimalism, jazz, pop and hip-hop. Monica Esslin-Peard, University of Liverpool, UK ...John McGrath packs a great deal into a seemingly narrowly framed monograph...his analysis of repetition in the prose works of late Beckett shift into tight and revealing focus when he looks at the data...McGrath's book is salutary in flagging the deliberately jarring tactics of the avant garde, and getting the reader to grasp what remains permanently uncanny about our pleasure in Beckett and Feldman's exploration of both the playful humour and subtle queasiness to be found within their repetitive forms. Drew Daniel, The Wire
