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Romanticism's Children: Nostalgia and Fantasy in Music from Schumann to The Legend of Zelda
Romanticism's Children: Nostalgia and Fantasy in Music from Schumann to The Legend of Zeld...
Romanticism's Children: Nostalgia and Fantasy in Music from Schumann to The Legend of Zelda

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자료유형  
 학위논문 서양
최종처리일시  
20250211151137
ISBN  
9798382755373
DDC  
780
저자명  
Shahmehri, Demetrius.
서명/저자  
Romanticisms Children: Nostalgia and Fantasy in Music from Schumann to The Legend of Zelda
발행사항  
[Sl] : Columbia University, 2024
발행사항  
Ann Arbor : ProQuest Dissertations & Theses, 2024
형태사항  
245 p
주기사항  
Source: Dissertations Abstracts International, Volume: 85-11, Section: A.
주기사항  
Advisor: Frisch, Walter.
학위논문주기  
Thesis (Ph.D.)--Columbia University, 2024.
초록/해제  
요약This dissertation comparatively examines musical nostalgia, particularly nostalgia for childhood, in video games and post-Romantic classical music. An introductory chapter lays out several key concepts drawn from video games-loops, gameworlds, and role-play-and suggests the correspondences these have in Romantic music and thought. The central chapters offer case studies of pieces by Robert Schumann, Brahms, Debussy, and Ravel, each along with a corresponding concept drawn from video games. Each chapter articulates ways that works by these composers provide analogies for practices in contemporary role-playing and adventure video games and, conversely, suggests that features drawn from those games might illuminate how these pieces create musical meaning out of dwelling on the past or imagining distant places.The central chapters draw video games and classical music more closely together over their course. In an analysis of Schumann's Kinderszenen, I suggest that Schumann's music could be conceived as offering the player a form of role-play, allowing its players and listeners to play as an imagined child and gain access to otherwise inaccessible space. Brahms's works often dwell in the past (and are often analyzed as such), especially when that past is metaphorically conceived as childhood or the classical tradition. I suggest that we might hear Brahms's music as preoccupied with the "unrevisitable location," a feature of video games in which certain spaces are visitable only a fixed number of times and therefore charged with melancholy and loss. Debussy's Children's Corner extends role-play to an extreme degree, while at the same time suggesting distant, unreachable vistas. In particular, I borrow Jay David Bolter and Richard Grusin's ideas on mediation and Christopher Goetz's notion of "nostalgic travel" to suggest ways that Debussy's music incorporates impossible distance into its sound and structure. Video games and classical music converge as much as possible in an analysis of Ravel's Ma mere l'Oye, which I read alongside Nintendo's open-world game The Legend of Zelda: Breath of the Wild. I suggest that Ravel's music offers space for its players to explore similar to this video game. In particular, we might hear the music as allowing linear narrative to give way to a freer, open-ended exploration, suggesting the opening of a world.Finally, a concluding chapter examines nostalgia in video games themselves, specifically Undertale, Final Fantasy VII, and Final Fantasy VII Remake, while revisiting elements of the Romantic musical past as they have accrued in the dissertation so far. The argument in this final chapter is that of the dissertation as a whole: that the same desires for fantasy and adventure animate both traditions, and that the two provide meaningful contexts for each other, in ways that studies of the two have until now overlooked.
일반주제명  
Music history
일반주제명  
Music
일반주제명  
Musical composition
키워드  
Final Fantasy
키워드  
Ludomusicology
키워드  
Memory
키워드  
Nostalgia
키워드  
Romanticism
키워드  
Video games
기타저자  
Columbia University Music
기본자료저록  
Dissertations Abstracts International. 85-11A.
전자적 위치 및 접속  
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MARC

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■1001  ▼aShahmehri,  Demetrius.
■24510▼aRomanticism's  Children:  Nostalgia  and  Fantasy  in  Music  from  Schumann  to  The  Legend  of  Zelda
■260    ▼a[Sl]▼bColumbia  University▼c2024
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■500    ▼aSource:  Dissertations  Abstracts  International,  Volume:  85-11,  Section:  A.
■500    ▼aAdvisor:  Frisch,  Walter.
■5021  ▼aThesis  (Ph.D.)--Columbia  University,  2024.
■520    ▼aThis  dissertation  comparatively  examines  musical  nostalgia,  particularly  nostalgia  for  childhood,  in  video  games  and  post-Romantic  classical  music.  An  introductory  chapter  lays  out  several  key  concepts  drawn  from  video  games-loops,  gameworlds,  and  role-play-and  suggests  the  correspondences  these  have  in  Romantic  music  and  thought.  The  central  chapters  offer  case  studies  of  pieces  by  Robert  Schumann,  Brahms,  Debussy,  and  Ravel,  each  along  with  a  corresponding  concept  drawn  from  video  games.  Each  chapter  articulates  ways  that  works  by  these  composers  provide  analogies  for  practices  in  contemporary  role-playing  and  adventure  video  games  and,  conversely,  suggests  that  features  drawn  from  those  games  might  illuminate  how  these  pieces  create  musical  meaning  out  of  dwelling  on  the  past  or  imagining  distant  places.The  central  chapters  draw  video  games  and  classical  music  more  closely  together  over  their  course.  In  an  analysis  of  Schumann's  Kinderszenen,  I  suggest  that  Schumann's  music  could  be  conceived  as  offering  the  player  a  form  of  role-play,  allowing  its  players  and  listeners  to  play  as  an  imagined  child  and  gain  access  to  otherwise  inaccessible  space.  Brahms's  works  often dwell  in  the  past  (and  are  often  analyzed  as  such),  especially  when  that  past  is  metaphorically  conceived  as  childhood  or  the  classical  tradition.  I  suggest  that  we  might  hear  Brahms's  music  as  preoccupied  with  the  "unrevisitable  location,"  a  feature  of  video  games  in  which  certain  spaces  are  visitable  only  a  fixed  number  of  times  and  therefore  charged  with  melancholy  and  loss.  Debussy's  Children's  Corner  extends  role-play  to  an  extreme  degree,  while  at  the  same  time  suggesting  distant,  unreachable  vistas.  In  particular,  I  borrow  Jay  David  Bolter  and  Richard  Grusin's  ideas  on  mediation  and  Christopher  Goetz's  notion  of  "nostalgic  travel"  to  suggest  ways  that  Debussy's  music  incorporates  impossible  distance  into  its  sound  and  structure.  Video  games  and  classical  music  converge  as  much  as  possible  in  an  analysis  of  Ravel's  Ma  mere  l'Oye,  which  I  read  alongside  Nintendo's  open-world  game  The  Legend  of  Zelda:  Breath  of  the  Wild.  I  suggest  that  Ravel's  music  offers  space  for  its  players  to  explore  similar  to  this  video  game.  In  particular,  we  might  hear  the  music  as  allowing  linear  narrative  to  give  way  to  a  freer,  open-ended  exploration,  suggesting  the  opening  of  a  world.Finally,  a  concluding  chapter  examines  nostalgia  in  video  games  themselves,  specifically  Undertale,  Final  Fantasy  VII,  and  Final  Fantasy  VII  Remake,  while  revisiting  elements  of  the  Romantic  musical  past  as  they  have  accrued  in  the  dissertation  so  far.  The  argument  in  this  final  chapter  is  that  of  the  dissertation  as  a  whole:  that  the  same  desires  for  fantasy  and  adventure  animate  both  traditions,  and  that  the  two  provide  meaningful  contexts  for  each  other,  in  ways  that  studies  of  the  two  have  until  now  overlooked.
■590    ▼aSchool  code:  0054.
■650  4▼aMusic  history
■650  4▼aMusic
■650  4▼aMusical  composition
■653    ▼aFinal  Fantasy
■653    ▼aLudomusicology
■653    ▼aMemory
■653    ▼aNostalgia
■653    ▼aRomanticism
■653    ▼aVideo  games
■690    ▼a0208
■690    ▼a0413
■690    ▼a0214
■71020▼aColumbia  University▼bMusic.
■7730  ▼tDissertations  Abstracts  International▼g85-11A.
■790    ▼a0054
■791    ▼aPh.D.
■792    ▼a2024
■793    ▼aEnglish
■85640▼uhttp://www.riss.kr/pdu/ddodLink.do?id=T17160926▼nKERIS▼z이  자료의  원문은  한국교육학술정보원에서  제공합니다.

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