Abstract
ABSTRACTCrumb describes “dark currents” and “musical vibrations from the surrounding world” of the Vietnam War as crucial to shaping Black Angels. Beyond its unearthly sound palette, Crumb’s work depicts the horrors of war through spiritual symbols that permeate the work, from its architecture to foundational motives. Secularization theory is useful for exploring the work’s historical precedents and identifying Crumb’s revolutionary surrealist poetics. A comparative analysis with Olivier Messiaen’s Quartet for the End of Time repositions Crumb’s Black Angels as part of a larger twentieth-century trend of embracing spirituality to understand, memorialize, and heal from the collective trauma of war.
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