Music, Criticism, and the Challenge of History: Shaping Modern Musical Thought in Late Nineteenth-Century Vienna
David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Jack Alan Reynolds
Learn more about PhilPapers
OUP USA (2008)
More than a century after Guido Adler's appointment to the first chair in musicology at the University of Vienna, Music, Criticism, and the Challenge of History provides a first look at the discipline in this earliest period, and at the ideological dilemmas and methodological anxieties that characterized it upon its institutionalization. Author Kevin Karnes contends that some of the most vital questions surrounding musicology's disciplinary identities today-the relationship between musicology and criticism, the role of the subject in analysis and the narration of history, and the responsibilities of the scholar to the listening public-originate in these conflicted and largely forgotten beginnings. Karnes lays bare the nature of music study in the late nineteenth century through insightful readings of long-overlooked contributions by three of musicology's foremost pioneers-Adler, Eduard Hanslick, and Heinrich Schenker. Shaped as much by the skeptical pronouncements of the likes of Nietzsche and Wagner as it was by progressivist ideologies of scientific positivism, the new discipline comprised an array of oft-contested and intensely personal visions of music study, its value, and its future. Karnes introduces readers to a Hanslick who rejected the call of positivist scholarship and dedicated himself to penning an avowedly subjective history of Viennese musical life. He argues that Schenker's analytical experiments had roots in a Wagner-inspired search for a critical alternative to Adler's style-obsessed scholarship. And he illuminates Adler's determined response to Nietzsche's warnings about the vitality of artistic and cultural life in an increasingly scientific age. Through sophisticated and meticulous presentation, Music, Criticism, and the Challenge of History demonstrates that the new discipline of musicology was inextricably tied in with the cultural discourse of its time.
|Keywords||No keywords specified (fix it)|
No categories specified
(categorize this paper)
|Buy the book||$45.95 used (24% off) $51.87 new (14% off) $57.00 direct from Amazon (5% off) Amazon page|
Setup an account with your affiliations in order to access resources via your University's proxy server
Configure custom proxy (use this if your affiliation does not provide a proxy)
|Through your library|
References found in this work BETA
No references found.
Citations of this work BETA
No citations found.
Similar books and articles
Holly Watkins (2011). Metaphors of Depth in German Musical Thought: From E. T. A. Hoffmann to Arnold Schoenberg. Cambridge University Press.
Daniel K. L. Chua (1999). Absolute Music and the Construction of Meaning. Cambridge University Press.
Kevin Barry (1987). Language, Music, and the Sign: A Study in Aesthetics, Poetics, and Poetic Practice From Collins to Coleridge. Cambridge University Press.
Michael Spitzer (2004). Metaphor and Musical Thought. University of Chicago Press.
Rita Steblin (2002). A History of Key Characteristics in the Eighteenth and Early Nineteenth Centuries. University of Rochester Press.
James H. Donelan (2008). Poetry and the Romantic Musical Aesthetic. Cambridge University Press.
Diane Kelsey McColley (1997). Poetry and Music in Seventeenth-Century England. Cambridge University Press.
Jenefer Robinson (ed.) (1997). Music & Meaning. Cornell University Press.
Peter Szendy (2008). Listen: A History of Our Ears. Fordham University Press.
Steven P. Scher (ed.) (1992). Music and Text: Critical Inquiries. Cambridge University Press.
Jean Jacques Nattiez (2004). The Battle of Chronos and Orpheus: Essays in Applied Musical Semiology. Oxford University Press.
Added to index2012-01-31
Total downloads2 ( #347,529 of 1,100,561 )
Recent downloads (6 months)1 ( #289,155 of 1,100,561 )
How can I increase my downloads?