Sublime Noise: Musical Culture and the Modernist Writer (Johns Hopkins University Press; Fall 2014)
Sublime Noise argues that modernist writers and composers engage with noise as a register of the cultural effects and public circulation of their art forms. By making use of industrial noises, urban noises, the noises of warfare, and the new possibilities of sound media, modernist composers give the lie to the idea that music is divorced from questions of history, politics, ideology; in turn, as writers co-opt the formal and aesthetic doctrines of music, particularly the radical modernist experiments with rhythm and dissonance, they also grapple with the material conditions of modernity that make art possible and desirable. Drawing on literary cultural studies and critical theory, as well as the so-called “new musicology,” Sublime Noise questions the often formalistic tenor taken by literary critics who try their hand at musical analysis, studying music’s gestures toward what Adorno called the “social situation of music”: the inassimilable shocks of dissonance; the disciplining or liberating effects of rhythm on the body; the listening habits promoted by new media; and the various noises repressed in the process of consolidating “High Culture.”
Taking its title from the set-piece from E.M. Forster’s Howards End, describing Beethoven’s Fifth as a “sublime noise…broadcast over a field of battle,” Sublime Noise engages with a wide range of modern music, literature, and Frankfurt Schoolish critical theory. As Edith Sitwell engages with the politics and the aesthetics of the Ballets Russes; as T.S. Eliot engages with the problems of performance setting and embodiment attendant to Wagnerian opera; as Britten and Forster set Billy Budd for the 1951 National Festival of Britain; and as Joyce and Pound engage with the noisy experiments of composers like Erik Satie and George Antheil, they grapple not just with the aesthetic “condition of music” (as Walter Pater put it), but with music’s cultural effects.
I have begun work on a second project as well, provisionally entitled Nuclear Family Portrait: Humphrey Jennings and the Structure of Reading in Post-War Britain. This project examines the Mass-Observationist and documentary filmmaker Humphrey Jennings–in particular, the films Listen to Britain (a Blitz-era sound-film) and Family Portrait (a rendering of the 1951 Festival of Britain), and the literary-critical anthology Pandaemonium–as precursors to contemporary debates over “surface reading” and “symptomatic reading.” I engage, for example, with the Festival of Britain’s Pattern Group, in relation to the formal surface textures of films such as Family Portrait and the M-O anthology May the Twelfth. Jennings’s work, filmic and otherwise, reflect a tangle of political and psychological anxieties about post-war Britain, and about reading itself.
I’m also working on articles related to the BBC Third Programme (e.g. Dylan Thomas and Samuel Beckett), and teaching more classes
than you can shake a stick at than that at which you can shake a stick.
A few under consideration. Stay tuned!
“Ezra Pound’s Musical Compositions,” chapter for The New Ezra Pound, ed. Mark Byron (forthcoming from Cambridge UP).
“‘We are a musical nation’: Under Milk Wood and the BBC Third Programme” (forthcoming in Modern Drama).
“Open City’s ‘Abschied’: Teju Cole, Gustav Mahler, and Elliptical Cosmopolitanism” (forthcoming in Studies in the Novel).
“The Antheil Era: Pound, Noise, and Musical Sensation.” Textual Practice 28.6.
“Joyce’s Phoneygraphs: Music, Mediation, and Noise Unleashed.” James Joyce Quarterly 48.2.
“‘Neutral Physiognomy’: The Unreadable Faces of Middlemarch.” Victorian Literature and Culture 38.1.
REVIEWS, BLOGS, AND OTHER SUCH BEHAVIORS
Review of Michelle Witen’s James Joyce and Absolute Music, for The Review of English Studies.
Review of David Deutsch’s British Literature and Classical Music: Cultural Contexts, 1870–1945, for Journal of British Studies.
SELECTED PRESENTATIONS, SEMINARS, ETC.
“Nuclear Family Portrait: Humphrey Jennings, the Pattern Group, and the Festival of Britain.” Conference paper to be presented at the Modernist Studies Association (Columbus, OH), for a panel entitled “Infrastructure on Exhibition: Modernism and Visual Culture.”
“Cruel Modernisms.” Seminar led at the Modernist Studies Association (Pasadena, CA), November 2016.
“Listening Out to Britain: Civic Soundscape in Humphrey Jennings.” Invited Talk for the University of Oxford Research Colloquia, May 2016.
Samuel Beckett Summer School, Trinity College (Dublin), August 2015.
“Lend Me Your Ears: Civic Soundscape in Humphrey Jennings’s Listen to Britain.” Modernist Studies Association (Pittsburgh, PA), November 2014.
“New Adornos.” Seminar led at the Modernist Studies Association (Pittsburgh), November 2014.
“‘We are a musical nation’: Under Milk Wood and the BBC Third Programme.” Invited talk for the Department of English at the University of Nevada – Reno.
“‘He-haw-haw-haw-haw’: Music and the ‘Cat-calls’ of the Human in Olive Moore’s Spleen.” Louisville Conference on Literature and Culture Since 1900, February 2014.
Presenter and Panel Organizer: “Bearing Earwitness: Modernism and Sonic Spectacle,” with Scott Klein and Julia Obert, chaired by Michael Moses. Paper title: “Over the Rainbow Bridge: The Phantasmagoric Wizard of Oz.”
“The Public Façade: Sitwell, Cocteau, and the Musical Life.” New Directions in the Humanities Conference, Granada, Spain, 2011.
“Chamber Music Matters: Joyce, Noise, and Siegfried’s Clanging Anvils.” Paper for the Southern California Irish Studies Colloquium, 2011.
“Consonance Kills: ‘Spellbinding Forms’ and the ‘Sublime Noise’ in Britten’s and Forster’s Billy Budd.” The Space Between Society (Notre Dame University), 2009.