UC Press is proud to be part of the Association of University Press’s seventh annual University Press Week, whose overall theme this year is #TurnItUP: The university press community amplifies voices, disciplines, and communities. Today’s theme is “Arts and Culture.” We encourage you to also visit our fellow university presses blogging today: Athabasca University Press, Rutgers University Press, Yale University Press, Duke University Press, University of Toronto Press, and University of Minnesota Press.
Karol Berger is the Osgood Hooker Professor in Fine Arts at the Department of Music, Stanford University, as well as an affiliated faculty at the Department of German Studies, and an affiliated researcher at the Europe Center. His award-winning books from UC Press include Bach’s Cycle, Mozart’s Arrow, recipient of the 2008 Marjorie Weston Emerson Award of the Mozart Society of America, and Beyond Reason: Wagner contra Nietzsche, the recipient of the 2018 Otto Kinkeldey Award of the American Musicological Society.
“…a vast reassessment of an endlessly fascinating chapter in Western musical and intellectual history. With finely honed arguments that are at once broadly panoramic and deeply rooted in time and place, with bracing new analyses both of music and of discourse, and with exquisite gems of thought on page after page, the author follows two legends of Western culture, one a composer, the other a philosopher, as they “search for ways forward in a universe after God and beyond Reason.””—2018 Award Citation by the American Musicological Society
Seth Brodsky is Associate Professor of Music and the Humanities at The University of Chicago, Interim Director at the Richard and Mary L. Gray Center for Arts and Inquiry, and Affiliated Faculty, Department of Visual Arts and Germanic Studies. His book Of 1989, Or European Music and the Modernist Unconscious is the recipient of the 2018 Lewis Lockwood Award of the American Musicological Society
“…a book that boldly reframes narratives surrounding modern music in the twentieth century. Taking the end of the Cold War as its point of departure, it returns near the end of the book, fittingly enough given the psychological theory invoked throughout, to the case study of Schoenberg’s 1909 monodrama, Erwartung. This is a fascinating mosaic of interdisciplinary reflections on twentieth-century musical culture and its historiography.”—2018 Award Citation by the American Musicological Society
