In the Process of Becoming: Analytical and Philosophical Perspectives on Form in Early Nineteenth-Century Music
David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Jack Alan Reynolds
Learn more about PhilPapers
OUP USA (2011)
With their insistence that form is a dialectical process in the music of Beethoven, Theodor Adorno and Carl Dahlhaus emerge as the guardians of a long-standing critical tradition in which Hegelian concepts have been brought to bear on the question of musical form. Janet Schmalfeldt's ground-breaking account of the development of this Beethoven-Hegelian tradition restores to the term "form" some of its philosophical associations in the early nineteenth century, when profound cultural changes were yielding new relationships between composers and their listeners, and when music itself-in particular, instrumental music-became a topic for renewed philosophical investigation. Precedents for Adorno's and Dahlhaus's concept of form as process arise in the Athenäum Fragments of Friedrich Schlegel and in the Encyclopaedia Logic of Hegel. The metaphor common to all these sources is the notion of becoming; it is the idea of form coming into being that this study explores in respect to music by Beethoven, Schubert, Mendelssohn, Chopin, and Schumann. A critical assessment of Dahlhaus's preoccupation with the opening of Beethoven's "Tempest" Sonata serves as the author's starting point for the translation of philosophical ideas into music-analytical terms-ones that encourage listening "both forward and backward," as Adorno has recommended. Thanks to the ever-growing familiarity of late eighteenth-century audiences with formal conventions, composers could increasingly trust that performers and listeners would be responsive to striking formal transformations. The author's analytic method strives to capture the dynamic, quasi-narrative nature of such transformations, rather than only their end results. This experiential approach to the perception of form invites listeners and especially performers to participate in the interpretation of processes by which, for example, a brooding introduction-like opening must inevitably become the essential main theme in Schubert's Sonata, Op. 42, or in which tremendous formal expansions in movements by Mendelssohn offer a dazzling opportunity for multiple retrospective reinterpretations. Above all, In the Process of Becoming proposes new ways of hearing beloved works of the romantic generation as representative of their striving for novel, intensely self-reflective modes of communication.
|Keywords||No keywords specified (fix it)|
No categories specified
(categorize this paper)
|Buy the book||$47.45 direct from Amazon (6% off) $64.99 used $141.28 new 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
Daniel K. L. Chua (1999). Absolute Music and the Construction of Meaning. Cambridge University Press.
Carl Dahlhaus (1982). Esthetics of Music. Cambridge University Press.
Carl Dahlhaus (1989). The Idea of Absolute Music. University of Chicago Press.
Jerrold Levinson (2009). Philosophy and Music. Topoi 28 (2):119-123.
John Lowell Brackett (2012). Zorn: Avant/Après/Passé. Avant 3 (T):316-323.
Berthold Hoeckner (ed.) (2006). Apparitions: New Perspectives on Adorno and Twentieth Century Music. Routledge.
Joseph Nathan Straus (2011). Extraordinary Measures: Disability in Music. Oxford University Press.
Michael Spitzer (2004). Metaphor and Musical Thought. University of Chicago Press.
Jerrold Levinson (2004). Music as Narrative and Music as Drama. Mind and Language 19 (4):428–441.
James H. Donelan (2008). Poetry and the Romantic Musical Aesthetic. Cambridge University Press.
Mark Andrew DeBellis (1995). Music and Conceptualization. Cambridge University Press.
Lydia Goehr (1992). The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music. Oxford University Press.
Byron Almén (2008). A Theory of Musical Narrative. Indiana University Press.
Stephen Davies (2011). Musical Understandings. New York;Oxford University Press.
Added to index2012-01-31
Total downloads6 ( #206,947 of 1,102,916 )
Recent downloads (6 months)1 ( #297,281 of 1,102,916 )
How can I increase my downloads?