The Music of Dada

A lesson in intermediality for our times

Peter Dayan

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Hardback

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English

Routledge
03 August 2018

Art & design styles: Surrealism & Dada; Music: styles & genres

100 years after the Dada soirées rocked the art world, the author investigates the role that music played in the movement. Dada is generally thought of as noisy and unmusical, but The Music of Dada shows that music was at the core of Dada theory and practice. Music (by Schoenberg, Satie and many others) performed on the piano played a central role in the soirées, from the beginnings in Zurich, in 1916, to the end in Paris and Holland, seven years later. The Music of Dada provides a historical analysis of music at Dada events, and asks why accounts of Dada have so consistently ignored music’s vital presence. The answer to that question turns out to explain how music has related to the other arts ever since the days of Dada. The music of Dada is the key to understanding intermediality in our time.

By: Peter Dayan
Imprint: Routledge
Country of Publication: United Kingdom
Dimensions: Height: 234mm, Width: 156mm,
Weight: 430g
ISBN: 9781138491861
ISBN 10: 1138491861
Pages: 182
Publication Date: 03 August 2018
Audience: College/higher education , General/trade , Primary , ELT Advanced
Format: Hardback
Publisher's Status: Active

1. Music in Zurich Dada, 1916–1918 2. New York pre-Dada and its Parisian roots: music excluded from modern art 3. The last Zurich Dada soirée: music drowned out 4. Music and anti-music in Paris Dada, 1920–1923 5. The music of Dada follows Kurt Schwitters to Holland (bypassing Berlin) and ends in the Ursonate

Peter Dayan is Professor of Word and Music Studies at the University of Edinburgh, and Obel Visiting Professor at the University of Aalborg. His publications include Art as Music, Music as Poetry, Poetry as Art, from Whistler to Stravinsky (2011) and Music Writing Literature, from Sand via Debussy to Derrida (2006).

Reviews for The Music of Dada: A lesson in intermediality for our times

Peter Dayan's book is a revelation: Dada was musical, and the music of Dada was often tonal, Romantic and popular in style. Dayan shows this to have been under the nose of Dada historians since the first Dada soirees but obscured by Dadaists through ideological difference, playful falsification, and Dada rules for (not) speaking about music. Ranging from New York pre-Dada to Richter's Dadascope (1961), and driven by an insatiable appetite for questions and challenging assumptions (including his own), Dayan's book is a major contribution to the field. Moreover - and more importantly, in Dada terms - it is also great fun. Stephen Forcer, University of Birmingham UK