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From its dissonant musics to its surrealist spectacles (the urinal is a violin ), Modernist art often seems to give more frustration than pleasure to its audience. In Untwisting the Serpent, Daniel Albright shows that this perception arises partly because we usually consider each art form in isolation, even though many of the most important artistic experiments of the Modernists were collaborations involving several media--Igor Stravinsky's The Rite of Spring is a ballet, Gertrude Stein's Four Saints in Three Acts is an opera, and Pablo Picasso turned his cubist paintings into costumes for Parade.

Focusing on collaborations with a musical component, Albright views these works as either figures of dissonance that try to retain the distinctness of their various media (e.g. Guillaume Apollinaire's Les Mamelles de Tir sias) or figures of consonance that try to lose themselves in some total effect (e.g. Arnold Schoenberg's Erwartung). In so doing he offers a fresh picture of Modernism, and provides a compelling model for the analysis of all artistic collaborations.

Untwisting the Serpent is the recipient of the 2001 Susanne M. Glasscock Humanities Book Prize for Interdisciplinary Scholarship of the Center for Humanities Research at Texas A&M University.

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CONTENTS
List of Illustrations = ⅸ
List of Musical Examples = xi
Acknowledgments = xiii
INTRODUCTION : LAOCO a ·· N REVISITED = 5
  Lessing and Horace = 8
  Babbitt and Greenberg = 10
  Adorno = 14
  Apollo and Marsyas = 18
  Kokoschka's M o ·· rder, Hoffnung der Frauen = 21
  Hindemith's M o ·· rder, Hoffnung der Frauen = 25
  Aesthetic Paradoxes = 27
  Modernism, Historical and Transhistorical = 29
Part One : Figures of Consonance among the Arts
  1 HIEROGLYPH = 37
    Plotinus = 39
    Mozart's The Magic Flute = 41
    Perlocution and Epigram : Liszt and Wagner = 45
    Rap e' e's Dictionary of Silent Film Music and the Leitmotiv = 48
    Wagner and the Origin of Music = 51
    Eye Music = 56
    Stravinsky's Renard and Prokofiev's Semyon Kotko = 57
  2. IDEOGRAM = 63
    Pound, Fenollosa, and the Chinese Character = 64
    Imagism = 65
  3. NOH = 68
    Pound, Fenollosa, Yeats, and Michio Ito = 69
    Unnatural Nature : Kleist and Mallarm e' = 73
    Structure of the Noh Play = 75
    Nishikigi = 76
    Pound's Tristan = 78
    The Pisan Cantos as a Noh Play = 82
    The Pisan Cantos as an Opera = 84
    Britten's Curlew River and Sumidagawa = 88
  4 GESTUS = 101
    Dalcroze Exercises = 101
    Nijinsky, Nijinska,and The Rite of Spring = 104
    Lessing's Theory of Gestus = 108
    Rousseau and Gesticulation = 109
    Weill's Theory of Gestus = 110
    Brecht's Theory of Gestus = 118
    Farragoes : Mann ist Mann and The Threepenny Opera = 122
    Ruined Wishes : Jenny and Lilian = 130
    Inscriptive Tetrachords = 132
    Brecht's Photograms = 135
  5 VILLONAUD = 138
    Text-Embezzling in The Threepenny Opera = 139
    Pound's Le testament : Troubadour Imitations = 141
    Le testament : Speech as Music = 146
    Schoenberg's Erwartung and the Rejection of Sequence = 148
    Wagner on Schopenhauer = 151
    The Semantics of Erwartung = 152
    Le testament : Rhythmic Complexity, Melodic Simplicity = 157
  6 NOH, AGAIN = 169
    Der Jasager : Teaching Acquiescence = 170
    Icons of Trudge and Gluck's Hell = 174
    Tragedy in Music : Plaint vs. Wall = 175
    The Chill of Hieroglyphs = 178
    Weill's Epitaph = 179
Part Two : Figures of Dissonance among the Arts
  7 LOOP = 185
    Parade : Whorls in Picasso's Designs = 186
    Circular Skits = 189
    Satie's Furniture Music as a Barrier against Expression = 190
    Phonometrography = 192
    Property Trees That Don't Convulse = 193
    Cocteau's Unspoken Text = 194
  8 CUBE = 198
    Rimbaud's "Parade" = 198
    Cubism and the Letter K = 201
    Picasso's Managers : Life inside a Cubist Painting = 202
    Metaphors for Cubes in Satie's Music = 206
    Ballet r e' aliste and Visual Collage = 207
    Intonarumori : Russolo and Boccioni = 211
  9 LOOP, AGAIN = 216
    Non-synchronicity in Silent Films = 216
    The American Girl's Spoof of The Perils of Pauline = 218
    Film Loops in Saint-Sa e ·· ns's L'assassinat du duc de Guise = 219
    Rel a ^ che : Clair's Entr'acte cin e' matographique as a Film Loop = 220
    Rel a ^ che : Segment Construction and Master Bars in Satie's Score = 222
    Antheil's Ballet M e' canique : The Big Foot = 225
    The L e' ger-Murphy Film of Ballet M e' canique : Cinematic Abstraction = 238
  10 SURREALISM (LITERATURE AND ART) = 244
    Apollinaire's Coining of the Word Surrealism = 244
    Apollinaire's Les mamelles de Tir e' sias = 246
    Calligrams = 256
    Simultanism : Verbal Polyphony = 263
    Surrealism as a Codified Style : Breton's Land of Unlikeness = 266
    Lautr e' amont's Tryst of Sewing Machine and Umbrella = 270
    Headlessness = 272
  11 SURREALISM (MUSIC) = 275
    The Cocteau-Milhaud Le boeuf sur le toit : Nothing Happens = 276
    The Cocteau-Les Six Les mari e' s de la Tour Eiffel = 278
    Dadaist Music : Schwitters and Duchamp = 288
    Allusion in the Music of Les mari e' s de la Tour Eiffel = 289
    Stravinsky as Fagin = 291
    The Jacob-Poulenc Le bal masqu e' = 292
    The E' luard-Poulenc Un soir de neige : Theft from Ravel = 295
    Poulenc's Setting of Les mamelles de Tir e' sias = 297
    Voice-Training Lessons = 308
  12 HEAVEN = 311
    Temporal Images of the Timeless = 311
    Transfiguration in Strauss, Faur e' , and Elgar = 313
    Stein, Automatic Writing, and Dal i' = 315
    Stein's Early "Psycho1ogical" Style : The Making o[Americans = 316
    Stein's Objective Style : Tender Buttons = 317
    Stein's An Elucidation : Discourse Vanishing into Visual Pattern = 319
    The Land of Unlikeness, Revisited = 323
    Stein's Landscape Style : Drama without a Story = 325
    Landscape Grammar = 327
    Four Saints in Three Acts : An Opera with NO Acts = 331
    Heavenly Reconfigurings of Position = 334
    Counting for Counting's Sake = 336
    Thomson's Early Stein Settings : Susie Asado, Capital Capitals = 339
    Thomson's Discipline of Spontaneity = 341
    Four Saints : Consonant Harmony, Dissonant Syntax = 343
    Counting for Counting's Sake, in Music = 347
    Grosser's Scenario for Four Saints : Imposing Narrative on the Inenarrable = 354
    Stettheimer's Stage Set : The Knickknack Shelf Enlarged = 357
    Thomson's Theory of Incidental Music = 360
    Voice-Training Lessons, Again = 361
Notes = 365
Works Cited = 381
Photo Credits = 387
Index = 389