Satiricized by Strauss II to highlight the deceptive aristocratic class, under Schoenberg, Mahler, and Webern’s pens the waltz became the pivot between the conscious and unconscious, forcing a paralytic “second state” analogous with the stagnation of the Habsburg Empire. The Viennese Waltz shows how, between 1864 – 1928, the waltz altered from signifier of upper-class artificeto the link between man and nature and between Viennese and “Other.” Hood wields the Freudian concepts of the uncanny and the doppelgänger to explain this revolution from the simple signification of a dance to the psychological anxiety of a subject’s place in society.
Danielle Hood received her PhD in musicology from the University of Leeds.
Chapter 1. Topics in Fin-de-Siècle Vienna
Chapter 2. Evolution of Viennese Cultural-Historical Topics: Romance, Freud, and
Chapter 3. The Waltz and the “Other”
Chapter 4. Narrative and Deception
Chapter 5. The Development of the Uncanny Narrative
Chapter 6 Part 1. The Waltz and the Uncanny in Mahler’s Seventh Symphony
Chapter 6 Part 2. Mahler’s Scherzos and the Uncanny Waltz
Chapter 7. The Waltz as Pivot Point in Webern’s Symphony Op. 21
“The Waltz is bound to become an indispensable contribution to the musical analysis of fin-de-siècle Vienna and particularly the waltz and its symbolic signification. Masterful use of topical and narratological procedures, but also of psychoanalysis as it is provided by the cultural context under scrutiny. Taking into account and relating both art music (Schönberg, Webern, Mahler) and functional genres such as dances and operetta reveals itself a fruitful, clever operation.”
“Drawing on topic theory, along with psychology and philosophy, Danielle Hood makes a compelling argument for reading the waltz as an uncanny narrative and tying the meaning to music as early as Johann Strauss II and Die Fledermaus rather than fin-de siècle Vienna. The case studies are detailed and incorporate tonal, atonal, and serial music and illustrate that the Viennese traditions did not fade away with World War I. The waltz and the Ländler have always been connected, and Hood demonstrates how the opposition between the two grows into an uncanny narrative.”
“Danielle Hood’s examination of the waltz in fin-de-siecle Vienna offers, on the one hand, a corrective to the relative absence of analytical accounts of music of this time in terms of topic and on the other, psychologically informed readings that tease out hitherto unexplored connections between diverse repertoires and composers. Hood’s wide-ranging interpretative strategy touches on the musical application of Freudian theory, narratology, and hermeneutics. Readers interested in music’s multiple significations and the interrelationships between musical topics and narrative, culture, and the unconscious will find much food for thought in Hood’s lively account.”