LEADER 03805cam a2200481Ia 4500001 136022 005 20240621203822.0 008 080116s2004 miug bm 000 0 eng d 035 (OCoLC)ocn234199575 035 136022 049 LHMA 040 J9U |beng |erda |cJ9U |dLHM 090 ML3917.E852 |bC59 2004 100 1 Cizmic, Maria, |d1973- 245 10 Performing pain : |bmusic and trauma in 1970s and 80s Eastern Europe / |cby Maria Cizmic. 246 33 Music and trauma in 1970s and 80s Eastern Europe 264 1 Ann Arbor, Mich. : |bUMI, |c2006. 264 4 |c©2005 300 xi, 263 pages 336 text |btxt |2rdacontent 337 unmediated |bn |2rdamedia 338 volume |bnc |2rdacarrier 502 Thesis (Ph. D.)--University of California, Los Angeles, 2004. 504 Includes bibliographical references (pages 252-263). 520 A representational dilemma emerges at the heart of my dissertation: how does music, as an embodied art form, represent and enact experiences of personal, communal, and historical trauma and pain? In exploring this question, I consider music composed in 1970s and 80s Eastern Europe and Russia and integrate trauma theory into this musicological endeavor. A set of case studies, this project explores Dmitri Shostakovich's String Quartet No. 15 (1974) and its crisis of narrativity; Russian composer Galina Ustvolskaya's Sixth Piano Sonata (1988) and embodied representations of pain; Estonian Arvo Pärt's Spiegel im Spiegel and Tabula Rasa (1978 & 1977), as postmodern surfaces that reflect interiority and spirituality; and Polish composer Henryk Górecki's Third Symphony (1976) as an enactment of mourning and remembering politicized by its Holocaust reception. Although these composers come from several East European locations, their compositions share a preoccupation with suffering, narrativity, embodiment, and interiority. With my final chapter I widen my cross-regional view to the United States, addressing the inclusion of Shostakovich's, Pärt's, and Górecki's pieces in HBO's Wit (2001). Here I speak to the translation of these musical expressions of disruption and pain into a film about a cancer patient that weaves a redemptive story about illness and dying. A primary goal of this dissertation is to both integrate trauma theory with musicology and introduce musical repertoire and scholarship into a discourse largely preoccupied with linguistic representation. Several overarching themes arise: the epistemology and representation of pain and trauma; the particular embodied access that music has to experiences of suffering; Western stereotypes of the "suffering slav"; musical subjectivity and postmodern articulations of "surface/depth" models; and the evocation of spirituality in art. 530 Electronic version(s) |bavailable internally at USHMM. 590 Dissertations and Theses 591 Record updated by Marcive processing 20 January 2012. 591 Record updated by Marcive processing 21 June 2024 650 0 Music |xSocial aspects |zEurope, Eastern. 650 0 Music and war. 650 0 Pain in art. 650 0 Psychic trauma. 600 10 Ustvolʹskai͡a, Galina Ivanovna, |d1919-2006. |tSonatas, |mpiano, |nno. 6. 600 10 Pärt, Arvo. |tSpiegel im Spiegel. 600 10 Pärt, Arvo. |tTabula rasa. 600 10 Górecki, Henryk Mikołaj, |d1933-2010. |tSymphonies, |nno. 3, op. 36. 655 7 Academic theses. |2lcgft 856 41 |uhttp://proquest.umi.com/pqdweb?did=885614201&sid=34&Fmt=6&clientId=54617&RQT=309&VName=PQD |zElectronic version from ProQuest 956 41 |u http://dc.ushmm.org/library/bib136022/3164301.pdf |z Hosted by USHMM. 852 0 |bstacks |hML3917.E852 |iC59 2004 852 |bwww 852 0 |bebook