Music Theory in the Age of Romanticism
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Twelve authors probe the mind of the Romantic era in its thinking about music. They provide a searching examination of writings by music theorists, critics, aestheticians, philosophers, and commentators from 1800 to 1875. In doing so, they wield new critical tools as well as old, casting fresh light, for example, on familiar problems of musical form by inspecting eighteenth-century rhetoric and nineteenth-century gendered discourse; exploring Schubertian modulation and Wagnerian motif with the insights of cognitive science; reinterpreting pianistic finger exercise by way of Michel Foucault and Frankenstein and so on. The impact of Hegel and Schelling on music theory occupies an important place, as does Schleiermacher's hermeneutics on analysis and criticism. The brilliant group of young historians of theory, represented here, provides an array of approaches, from detailed music analysis, through close reading of texts, through critical discourse, to philosophical enquiry.
Copyright year: 2005
Publisher: Cambridge University Press
Publication date: 9/15/2005
Size: 6.50" wide x 9.25" long x 0.50" tall
|Cultural and Philosophical Frameworks|
|The mechanics of sensation and the construction of the Romantic musical experience|
|F. W. J. Schelling's Philosophie der Kunst: an emergent semiology of music|
|FTtis and emerging tonal consciousness|
|Romantic music under siege in 1848|
|Hermeneutics, Analysis, Criticism|
|Second immediacies in the Eroica|
|Plato - Beethoven: a hermeneutics for nineteenth-century music?|
|Intersubjectivity and analysis: Schumann's essay on the Fantastic Symphony|
|Rhetoric, Metaphor, Musical Perception|
|The concept of dTveloppement in the early nineteenth century|
|A. B. Marx and the gendering of sonata form|
|... wie ein rother Faden: on the origins of 'Leitmotif' as critical construct and musical practice|
|Musical invariance as a cognitive structure: 'multiple meaning' in the early nineteenth century|