OUP USA (2009)
|Abstract||A few weeks after the reunification of Germany, Leonard Bernstein raised his baton above the ruins of the Berlin Wall and conducted a special arrangement of Beethoven's Ninth Symphony. The central statement of the work, that "all men will be brothers," captured the sentiment of those who saw a brighter future for the newly reunited nation. This now-iconic performance is a palpable example of "musical monumentality" - a significant concept which underlies our cultural and ideological understanding of Western art music since the nineteenth-century. Although the concept was first raised in the earliest years of musicological study in the 1930s, a satisfying exploration of the "monumental" in music has not yet been made. Alexander Rehding, one of the brightest young stars in the field, takes on the task in Resounding Monumentality, an elegant, thorough treatment that will serve as a foundation for all future discussion in this area. Rehding sets his focus on the main players of the period within the Austro-German repertoire -Beethoven, Liszt, Wagner, Brahms, Bruckner and Mahler- as he unpacks a two-fold definition of "musical monumentality." In the conventional sense, monumentality is a stylistic property often described as 'grand,' 'uplifting,' and 'sublime' and rife with overpowering brass chorales, sparkling string tremolos, triumphant fanfares, and glorious thematic returns. Yet Rehding sees the monumental in music performing a cultural task as well: it is employed in the service of establishing national identity. Through a clear theoretical lens, Rehding examines how grand sound effects are strategically employed with the view to overwhelming audiences, how supposedly immutable musical halls of fame change over time, how challenging musical works are domesticated, how the highest cultural achievements are presented in immediately consumable form-in a word, how German music emerges as a unified cultural and musical brand.|
|Keywords||No keywords specified (fix it)|
|Categories||categorize this paper)|
|Buy the book||$20.25 new (64% off) $20.97 used (62% off) $47.53 direct from Amazon (14% off) Amazon page|
|Through your library||Configure|
Similar books and articles
Suzannah Clark & Alexander Rehding (eds.) (2005). Music Theory and Natural Order From the Renaissance to the Early Twentieth Century. Cambridge University Press.
James H. Donelan (2008). Poetry and the Romantic Musical Aesthetic. Cambridge University Press.
Daniel K. L. Chua (1999). Absolute Music and the Construction of Meaning. Cambridge University Press.
Lydia Goehr (1998/2002). The Quest for Voice: On Music, Politics, and the Limits of Philosophy: The 1997 Ernest Bloch Lectures. Oxford University Press.
Kathleen Marie Higgins (2012). The Music Between Us: Is Music a Universal Language? The University of Chicago Press.
Michael Talbot (ed.) (2000). The Musical Work: Reality or Invention? Liverpool University Press.
Julian Johnson (2002). Who Needs Classical Music?: Cultural Choice and Musical Value. Oxford University Press.
Stephen Davies (2001). Musical Works and Performances: A Philosophical Exploration. Oxford University Press.
Joseph Nathan Straus (2011). Extraordinary Measures: Disability in Music. Oxford University Press.
Arved Mark Ashby (2010). Absolute Music, Mechanical Reproduction. University of California Press.
Carolyn Beckingham (2009). Moribund Music: Can Classical Music Be Saved? Sussex Academic Press.
Ernst Bloch (1985). Essays on the Philosophy of Music. Cambridge University Press.
Jochen Eisentraut (2012). The Accessibility of Music Participation, Reception, and Contact. Cambridge University Press.
Sorry, there are not enough data points to plot this chart.
Added to index2012-01-31
Total downloads1 ( #290,877 of 722,698 )
Recent downloads (6 months)1 ( #60,006 of 722,698 )
How can I increase my downloads?