Music, Noise, and the First World War in Ford Madox Ford’s Parade’s End

Moss, Gemma (2017) Music, Noise, and the First World War in Ford Madox Ford’s Parade’s End. Modernist Cultures, 12 (1). pp. 59-77. ISSN 2041-1022

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Abstract

Parade’s End registers the potential and necessity for a transition in conceptions of music informed by new sounds experienced during the First World War. In the trenches, Tietjens interprets a bombardment as a Wagnerian orchestra, encouraging contemplation of where and why demarcation lines between music and noise are drawn, as well as reflection on the utopian project of Wagner’s Total Art-Work. Ford’s tetralogy has a significant contribution to make towards understanding how writers were navigating the impact of noise on music in the early twentieth century.

Item Type:	Article
Identification Number:	https://doi.org/10.3366/mod.2017.0156
Dates:	Date Event 1 January 2017 Accepted 1 February 2017 Published Online
Uncontrolled Keywords:	Ford Madox Ford, modernism, music, Gesamtkunstwerk, Wagner, First World War
Subjects:	CAH19 - language and area studies > CAH19-01 - English studies > CAH19-01-01 - English studies (non-specific) CAH19 - language and area studies > CAH19-04 - languages and area studies > CAH19-04-09 - others in language and area studies
Divisions:	Faculty of Arts, Design and Media > Birmingham Institute of Media and English > School of English
Depositing User:	Gemma Moss
Date Deposited:	03 Dec 2018 13:07
Last Modified:	12 Jan 2022 16:38
URI:	https://www.open-access.bcu.ac.uk/id/eprint/6482

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