Laura Chiesa is Associate Professor in the Department of Romance Languages and Literatures at the University at Buffalo, State University of New York. She is the author of Space as Storyteller: Spatial Jumps in Architecture, Critical Theory, and Literature.

• Acknowledgments IntroductionResonant Listening: Sound and Music to the RescueLaura Chiesa1. Political (Effort/Exhaustion) James Currie2. "[C]ounting Your Heads / As I'm Making the Beds": Piratesthetics, Weill-Brecht to Simone Jacques Lezra3. Sonic Ordeals: Music, Torture, and The New Orpheus Peter Szendy4. What Makes Weill Weill? Kim H. Kowalke 5. A Walk on the Weill Side: Musical Theater and Rock Music in the 1960s William Solomon 6. Marguerite Duras's Musical Return of the Real Fernanda Negrete7. Outside In: Chorus and Clearing in the Time of Pandemic and Protest Julie Beth Napolin Afterword: Sounding Silence, Sounding Thought Krzysztof ZiarekContributors Index

"Featuring the work of leading intellectuals in music studies and the comparative humanities, this superb essay collection sharpens the conceptual and political stakes of music and sound in the context of the recent resurgence of fascism and right-wing populism. It takes as its point of departure the socially engaged work of composer Kurt Weill, but branches out to examine the broader political work of modernism across media, from rock music and jazz, to theater, literature, film, and social protest." — Michael Gallope, author of Deep Refrains: Music, Philosophy, and the Ineffable

Laura Chiesa is Associate Professor in the Department of Romance Languages and Literatures at the University at Buffalo, State University of New York. She is the author of Space as Storyteller: Spatial Jumps in Architecture, Critical Theory, and Literature.

• Acknowledgments IntroductionResonant Listening: Sound and Music to the RescueLaura Chiesa1. Political (Effort/Exhaustion) James Currie2. "[C]ounting Your Heads / As I'm Making the Beds": Piratesthetics, Weill-Brecht to Simone Jacques Lezra3. Sonic Ordeals: Music, Torture, and The New Orpheus Peter Szendy4. What Makes Weill Weill? Kim H. Kowalke 5. A Walk on the Weill Side: Musical Theater and Rock Music in the 1960s William Solomon 6. Marguerite Duras's Musical Return of the Real Fernanda Negrete7. Outside In: Chorus and Clearing in the Time of Pandemic and Protest Julie Beth Napolin Afterword: Sounding Silence, Sounding Thought Krzysztof ZiarekContributors Index

"Featuring the work of leading intellectuals in music studies and the comparative humanities, this superb essay collection sharpens the conceptual and political stakes of music and sound in the context of the recent resurgence of fascism and right-wing populism. It takes as its point of departure the socially engaged work of composer Kurt Weill, but branches out to examine the broader political work of modernism across media, from rock music and jazz, to theater, literature, film, and social protest." — Michael Gallope, author of Deep Refrains: Music, Philosophy, and the Ineffable

Laura Chiesa is Associate Professor in the Department of Romance Languages and Literatures at the University at Buffalo, State University of New York. She is the author of Space as Storyteller: Spatial Jumps in Architecture, Critical Theory, and Literature.

• Acknowledgments IntroductionResonant Listening: Sound and Music to the RescueLaura Chiesa1. Political (Effort/Exhaustion) James Currie2. "[C]ounting Your Heads / As I'm Making the Beds": Piratesthetics, Weill-Brecht to Simone Jacques Lezra3. Sonic Ordeals: Music, Torture, and The New Orpheus Peter Szendy4. What Makes Weill Weill? Kim H. Kowalke 5. A Walk on the Weill Side: Musical Theater and Rock Music in the 1960s William Solomon 6. Marguerite Duras's Musical Return of the Real Fernanda Negrete7. Outside In: Chorus and Clearing in the Time of Pandemic and Protest Julie Beth Napolin Afterword: Sounding Silence, Sounding Thought Krzysztof ZiarekContributors Index

"Featuring the work of leading intellectuals in music studies and the comparative humanities, this superb essay collection sharpens the conceptual and political stakes of music and sound in the context of the recent resurgence of fascism and right-wing populism. It takes as its point of departure the socially engaged work of composer Kurt Weill, but branches out to examine the broader political work of modernism across media, from rock music and jazz, to theater, literature, film, and social protest." — Michael Gallope, author of Deep Refrains: Music, Philosophy, and the Ineffable