Relevant bibliographies by topics / Surrealism and music

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Surrealism and music'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2025

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Journal articles on the topic "Surrealism and music"

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Miller, C. F. B. "Surrealism's Homophobia." October 173 (September 2020): 207–29. http://dx.doi.org/10.1162/octo_a_00408.

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The primary document of Surrealist homophobia is a transcript, published in 1928 in the magazine La Révolution surréaliste, entitled “Research on Sexuality/ Extent of Objectivity, Individual Determinations, Degree of Consciousness.” The text records the first two of twelve closed, mostly men-only meetings, held in Paris between 1928 and 1932 by members and fellow travelers of the Surrealist group, at which the participants, according to the collective ethos of Surrealist practice, discussed their sexual preferences, experiences, and beliefs. In the published sessions, the group's leader, André
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Perrott, Lisa. "Experimental animation and the neosurrealist remediation of popular music video." Animation Practice, Process & Production 8, no. 1 (2019): 85–106. http://dx.doi.org/10.1386/ap3_00006_1.

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Once appearing to function primarily as a commercial tool for popular entertainment, the popular form of music video has recently been exposed by scholars as formally and functionally diverse, with a rich history stretching back decades before the advent of MTV. Animated music videos owe much to centuries old traditions spanning the visual, musical and performing arts, providing performative and material models that inspire contemporary video directors. Experimental animation, surrealism and music video form a matrix of historical and contemporary significance; however, few scholars have under
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Shik, Ida A. "Jerry Uelsmann and Contemporary Digital Photography: Jungian Images of ‘Photoshop’s Godfather’." Vestnik of Saint Petersburg University. Arts 13, no. 2 (2023): 326–43. http://dx.doi.org/10.21638/spbu15.2023.207.

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In the article, the researcher made a comprehensive study the American photographer Jerry Uelsmann art as a kind of contemporary digital photo-surrealism “prehistory”. The author revealed connections of Jerry Uelsmann works with American modernist photography and historical surrealist photography. The researcher analyzed the structure of Jerry Uelsmann’s hybrid images in the context of the ideas of analytical psychology, and also outlined the themes and concepts proposed in the works of the photographer that would be relevant in contemporary digital photography. The study showed that Jerry Uel
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DONALDSON, JAMES. "Reading the Musical Surreal through Poulenc's Fifth Relations." Twentieth-Century Music 17, no. 2 (2020): 127–60. http://dx.doi.org/10.1017/s147857222000002x.

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AbstractThis article develops a method of understanding concepts from the Parisian Surrealist movement in music using Poulenc's treatment of cadences and fifth relations as a case study. Although music was rejected by the group's figurehead André Breton as ‘the most profoundly confusing’ of all arts, many composers were keenly involved in Surrealist circles. Notably, Poulenc's acquaintance with major figures led him to set much of their literary work. But his engagement with their aesthetic principles extends deep into the musical form. After assessing Poulenc's flirtation with the movement's
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Fu, Zeya. "Art in the Dream World - Surrealism." Highlights in Art and Design 1, no. 1 (2022): 14–16. http://dx.doi.org/10.54097/hiaad.v1i1.1564.

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Surrealism advocates breaking through the concept of logic and reality, completely abandoning the logical and impressionistic image of reality and combining instinct and reality, the subconscious and dreams, to reveal the deepest world of the human psyche. A social thought and literary movement that emerged in France after the First World War and whose influence spread to all European countries. It involved all fields of literature, art, theatre and music. It absorbed anti-traditional and auto-creative ideas from Dadaism, but overcame the weaknesses of Dadaism's negation of everything and had
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Gorelov, Oleg. "HISTORY OF SURREALIST ANTI-MUSICALITY IN THE PRACTICES OF INNOVATIVE RUSSIAN POETRY." Ivanovo state university bulletin. Series «The Humanities», no. 3 (October 1, 2020): 20–29. http://dx.doi.org/10.46726/h.2020.3.3.

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The article provides an overview of key studies of surrealist musicality, highlights the problem of non-acceptance by surrealism of music media, focuses on a historical discussion of the semantics and reality of sound itself as a phenomenon. It also analyzes the basic principles for the implementation of the surrealist antimusicality in the newest Russian poetry. Anti-musicality is now recognized as the principle of working with sound, bypassing the composer, audial culture, based on ideas about harmony and composition. It is in this anti-musical meaning that the musical code is used in poetic
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Farkas, András. "Prototypicality-Effect in Surrealist Paintings." Empirical Studies of the Arts 20, no. 2 (2002): 127–36. http://dx.doi.org/10.2190/ud7y-gn8p-q0ev-q13j.

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The previous experimental proofs of Martindale's preference-for-prototypes model (Martindale, 1984, 1988; Martindale, Moore, & West, 1988) did not use artworks as stimuli except the experiment of Hekkert and van Wieringen (1990a, 1990b, 1992) who applied reproductions of cubist paintings. In our experiment, the category of surrealism was taught to naive subjects by repeated presentations of a large assortment of surrealist paintings. In the main experiment, two experimental groups participated. The members of the first group learned the category of surrealism in four series, scaling 30 pai
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Graubard, Allan. "Surrealism Beyond Borders." Leonardo 55, no. 2 (2022): 203–4. http://dx.doi.org/10.1162/leon_r_02190.

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Baker, George. "The Underneaths of Painting, Redux: For Silke Otto-Knapp, 1970–2022." October, no. 182 (2022): 3–60. http://dx.doi.org/10.1162/octo_a_00469.

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Abstract This essay explores the untold histories opened up by Francis Picabia's painting The Spanish Night, 1922. Out of place within Dada but clearly in dialogue with the work of Marcel Duchamp and parodying conservative or neo-classical styles of painting but also undermining the avant-garde tactics of a still-nascent Surrealism, Picabia's canvas has been too simply dismissed as part of the artist's own return to figuration, a sudden retrenchment and embrace of a vehement anti-modernism. Instead, the work seethes with connection to underground tactics moving between Dada and Surrealism, and
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Kolisnyk, Mary Helen. "Surrealism, Surrepetition: Artaud's Doubles." October 64 (1993): 78. http://dx.doi.org/10.2307/778715.

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Dissertations / Theses on the topic "Surrealism and music"

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Reese, Samuel Vivian Hansen. "Paul Bowles’ Aesthetics of Containment: Surrealism, Music, the Short Story." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/11513.

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This thesis aims to reposition the critical understanding of Paul Bowles, away from the traditional North African focus that has guided interpretations of his work, and place him instead within an interdisciplinary framework that is particularly attentive to his mid-century American context. Focussing on Bowles’ initial collection of short stories, The Delicate Prey, it investigates its reception by contemporary critics, and its place within the wider cultural and political climate of postwar America, with specific attention to ideas of freedom and containment. Turning to his involvement in th
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Kim, Youmee. "An analysis and performance guide to Benjamin Lees's Odyssey I and II." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1199061624.

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Rajatanavin, Tanaporn. "The Emergence of the Subconscious in Erik Satie's "Parade": The Search for Surrealism in Sound." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707230/.

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This thesis investigates possible connections between the music of Erik Satie (1866-1925) and the later surrealist movement, turning to Parade (1917) in a case study that seeks to understand surrealism in music through the idea of self-exploration, a well-established interpretive approach in studies of surrealism in the visual arts. This thesis seeks to redefine surrealism in music not as a set of concrete musical characteristics, but as a collection of techniques meant to evoke subconscious turbulence by blurring the boundary between the "outside" and "inside," between conscious and subconsci
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Fry, Laura D. "“The Dawn is Behind Your Picture”: Musical Cubism and Surrealism in Francis Poulenc’s Le Travail du Peintre." Ohio University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1171910432.

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Fouse, Kathryn. "Surrealism in the Piano Music of Representative Twentieth-Century American Composers: With Three Recitals of Selected Works of Ives, Cowell, Crumb, Cage, Antheil, and Others." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc332492/.

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This study is an examination of the Surrealist movement and its influence on the piano music of twentieth century American composers. The first chapter explores the philosophies of the Surrealists as well as the characteristics found in Surrealist art and literature. The characteristics discussed include: 1) the practice of automatism; 2) the juxtaposition of unrelated themes or images; and 3) the creation of dream-like atmospheres.
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Chayama, Yuri. "The Influence of Modern Art on Toru Takemitsu's Works for Piano." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/268593.

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This study examines the influence of Modern Art on the piano compositions of Toru Takemitsu (1930-1996) to demonstrate how he was inspired by visual art and integrated its ideas into his music. From his youth, Takemitsu was aware of the relationship between music and visual art, exploring different genres, especially Surrealist poetry and modern painting, as well as Japanese gardens, then harmonizing and incorporating these ideas within his music. In doing so, he established his own philosophy and musical structure, combining colorful sonorities with spatial effects of timelessness, which be
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Roudén, Magnus. "SKIVOMSLAG : En analys av designgrupperna:”Hipgnosis” & ”StormStudios”bildspråk och inflytande på populärkulturen." Thesis, University of Kalmar, School of Human Sciences, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hik:diva-2299.

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<p>Uppsatsens syfte har varit att lyfta fram skivomslaget genom designgrupperna Hipgnosis och StormStudios bildspråk i en populärkulturell analysmodell på tre nivåer. Ansatsen har varit att genom denna modell försöka skildra deras bildspråkliga påverkan via omslagets representation av artisterna och kommunikation med skivköparen. Skivomslaget som koncept inom skivindustrin nådde sin storhetstid under den postmodernistiska epoken från sent 1960-tal fram till 2000-talet. Uppsatsen syfte blev då även att utforska vad som utmärker designgruppernas bildspråk kopplat till postmodernismens tillstånd,
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Davis, Peter. ""Woven Into the Deeps of Life": Death, Redemption, and Memory in Bob Kaufman's Poetry." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/pomona_theses/220.

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The scholars who have taken up the task of writing about Bob Kaufman have most often done so in response to a perceived demand: the lack of Kaufman scholarship, readership, anthology, publicity, canonization. The basis of this need is clear: Kaufman is almost never included as even a third-string Beat, a fringe Surrealist, or an underappreciated Jazz performer. To the committed readers of Kaufman – and almost all of his readers seem to be committed ones – it’s unforgivable. These various canons, major (mid-century American poets, Beat poets) and minor (Jazz poets, American Surrealists), are cl
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Barbier, de Reulle Caroline. "Salvador Dalí et la musique." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040021.

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À plusieurs reprises, Salvador Dalí a affirmé mépriser la musique. Pourtant, les références à cet art dans son œuvre sont omniprésentes dans des domaines variés : peinture, dessin, sculpture, cinéma, ballet, happening, photographie, écrits… La dissonance entre le discours et l’œuvre est au cœur de cette thèse qui cherche à définir le rôle joué par la musique dans la création de Dalí en décloisonnant les disciplines, tout en replaçant sa démarche dans le contexte du surréalisme et de l’histoire des arts. Cette approche est liée à la personnalité de l’artiste : curieux et ouvert, il souhaitait s
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Santamaria, Antoine. "Rock et psychélélisme : des racines mystiques de la contre-culture aux rêves utopiques des musiques des années 1960." Thesis, Normandie, 2019. http://www.theses.fr/2019NORMR141.

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La thèse a pour finalité de mettre à jour les racines sous-tendant la création musicale des années soixante en Occident, en particulier au sein du rock psychédélique. Pour ce faire, la thèse opère une étude du contexte social qui entoure et inspire cette période, en mettant en lumière la primauté de l'expérience gnostique du psychédélisme dans le processus d'appréhension de l'existence, ainsi que de la création artistique. Le chemin initiatique, partant de l'individu pour atteindre le global refaçonné par le biais de l'utopie, imprègne l'essentiel des innovations sonores et musicales du rock d
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Books on the topic "Surrealism and music"

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Arfouilloux, Sébastien. Que la nuit tombe sur l'orchestre: Surréalisme et musique. Fayard, 2009.

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Arfouilloux, Sébastien. Que la nuit tombe sur l'orchestre: Surréalisme et musique. Fayard, 2009.

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Arfouilloux, Sébastien. Que la nuit tombe sur l'orchestre: Surréalisme et musique. Fayard, 2009.

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Hernández, Sonsoles, Alejandro Vargas, and Benxamín Otero. Miniaturas de Eugenio Granell: Música revelada. ACentral Folque, 2012.

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Souris, André. La lyre à double tranchant: Écrits sur la musique et le surréalisme. Conseil de la musique de la Communauté française de Belgique, 2000.

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Bonnefoy, Yves. L' alliance de la poésie et de la musique. Galilée, 2007.

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Bonnefoy, Yves. L' alliance de la poésie et de la musique. Galilée, 2007.

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Gascoyne, David. Night thoughts: A radiophonic poem. Alyscamps Press, 1995.

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1886-1966, Ozenfant Amédée, ed. Shūrurearizumu kaigaron. Yumani Shobō, 1991.

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Jiří, Tomáš, ed. O humoru, clownech a dadaistech. 2nd ed. Akropolis, 2004.

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Book chapters on the topic "Surrealism and music"

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Watten, Barrett. "Dark Night of the Universal: transition (1927–1938) as Region of the Modern." In Music, the Avant-Garde, and Counterculture. Springer Nature Switzerland, 2024. https://doi.org/10.1007/978-3-031-69514-8_8.

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AbstractIn taking up the international modernist journal transition (1927–1938), edited by Eugene Jolas, I begin with the editorial project of constructing a space between and among the literatures of three world languages: English, French, and German (coinciding, in fact, with the editor’s trilingual background as an emigrant from Alsace-Lorraine to the United States), on the way to a global universal. The disparity between the basic presuppositions of these literatures—for instance, between American objectivism and French surrealism—demands a higher level of interpretation, which I compare t
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Zdunik, Michal. "Postmodernism, Avant-Garde, and Neo-Dadaism: The Legacy of Boguslaw Schaeffer." In Music, the Avant-Garde, and Counterculture. Springer Nature Switzerland, 2024. https://doi.org/10.1007/978-3-031-69514-8_4.

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AbstractThe main topic of my chapter is the neo-avant-garde and neo-Dadaist influence and inspiration in the work of Boguslaw Schaeffer—one of the most interesting artists of Central Europe after the Second World War. Like prominent artists of the “classical” avant-gardes (e.g., Artaud, Schwitters, Duchamp, or Klein), Schaeffer worked extensively in many fields of artistic expression: he was best known as a composer and music theorist, but he also wrote plays, created graphic art, and practiced philosophy. In my essay I would like to show that Schaeffer is essentially a continuation of the pre
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Massey, Drew. "The Dilemmas of Musical Surrealism." In Thomas Adès in Five Essays. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199374960.003.0005.

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Discussions of the music of Thomas Adès have seized on the idea of “surrealism” as an explanatory means to characterize music from across his career. This essay traces the development and emergence of the aesthetic of surrealism in the reception of Adès’s music and considers surrealism’s rapport with neighboring conceptual terrains, especially the uncanny. I argue that the idea of surrealism engages a larger process through which commentators have developed a vocabulary for considering various dimensions of otherness in Adès’s music while avoiding a rhetoric that uses alterity and identity pol
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Njoroge, Njoroge. "Conclusion." In Chocolate Surrealism. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496806895.003.0006.

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What is funky is history, what comes goes. —Amiri Baraka The popular musics of the circum-Caribbean present us with a rich mosaic of the expressions and experiences of the people of the African diaspora. The music articulates history, memory, myth, and contemporary reality; its feelingfulness derives from its ability to simultaneously re-present the past and the present, and through rootwork and polyrhythm, the continuous innovation of the tradition. The music remembers Africa in diaspora, and listening to black music informs us of the dialectics of history and cultural memory, as well as the
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Njoroge, Njoroge. "Introduction1." In Chocolate Surrealism. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496806895.003.0001.

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In those days it was either live with music or die with noise, and we chose rather desperately to live. —Ralph Ellison Black music has always been a tremendous source of information and inspiration for musicians, dancers, and music lovers. Listening to the music opens new worlds and windows onto the rich history of black music, society, and struggle in the circum-Caribbean, and provides a rich archive of the creative musical genius of the African diaspora. Music always expresses the interrelationships of movement, memory, and history, but this is preeminently true of the music of the African d
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"Music and Surrealism (1966)." In Slonimskyana V4. Routledge, 2004. http://dx.doi.org/10.4324/9780203997192-11.

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Rentzou, Effie. "Can surrealism sing?" In Music, Language and Identity in Greece. Routledge, 2019. http://dx.doi.org/10.4324/9781315276151-15.

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"Surrealism, Neoclassicism, and Postmodernism." In Postmodern Music, Postmodern Listening. Bloomsbury Academic, 2016. http://dx.doi.org/10.5040/9781501306051.ch-009.

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Njoroge, Njoroge. "“Headless Heroes of the Apocalypse”." In Chocolate Surrealism. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496806895.003.0002.

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This chapter examines the rise and development of calypso in Trinidad. Trinidad is a rich site to explore issues of diaspora and historical development in the Caribbean since the island has the dubious distinction of being subject to all the major imperial powers in the region. Calypso is quintessentially urban, developed in the late 19<sup>th</sup> century through the intermingling of the largely once-rural proletariat, unemployed and under-employed ex-slaves, and formerly indentured Africans and other Creoles in the burgeoning city of Port-of-Spain. The music emerged from and was developed i
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Njoroge, Njoroge. "“Cuba Libre”." In Chocolate Surrealism. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496806895.003.0003.

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This chapter explores musical and political evolution of Cuba in the early 20<sup>th</sup> century. Cuba provides an interesting condensation of the history of the Caribbean region where sugar and slavery were the dominating and defining features of society. Musical developments in Cuba demonstrate this history on a cultural plane, and by examining the music of the Rumba and the Son in the pre-revolutionary Cuban context and their confluence and cross-fertilization in the 20<sup>th</sup> century, we can glimpse dynamics of national and regional consciousness, ethnic and cultural identification
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