Wordless Rhetoric: Musical Form and the Metaphor of the OrationHarvard University Press, 1991 - 237 páginas This study explores evolving ideas of musical form from a historical perspective and sheds light on current conceptualizations of music. The author examines the image--dominant among 18th-century composers and analysts--of music as a language, a kind of wordless discourse, which could move audiences. In his account of these changing perspectives, the author draws on the writings of a broad range of 18th- and 19th-century theorists. His analyses focus on specific sonata form movements by Haydn, Mozart, and Beethoven and are informed by the theoretical premises that characterize the composers' own times. In a final synthesis, the 18th-century rhetorical model - with its focus on the structural function of musical ideas and the role of the listener--emerges as a forerunner of today's listener-orientated and plot theories about musical form. The author makes use of literary theory to develop his innovative evaluation of musical form. In addition to the text, there are several musical examples included. |
Índice
Musical Form and Metaphor I | 1 |
The Paradox of Musical Form | 13 |
Rhetoric and the Concept of Musical Form in the Eighteenth | 53 |
Página de créditos | |
Otras 5 secciones no se muestran.
Términos y frases comunes
according aesthetic analysis applied approach basic basis Beethoven beginning central century Classical closely common composer composition concept concept of form considered consistently construction continued contrast conventions critical describe detail discussion distinction earlier early eighteenth eighteenth-century eine elaboration elements emphasizes entire essentially example expression fact follows Forkel function genres harmony Hauptsatz Haydn idea important individual instrumental music issue Johann kind Koch language large-scale later listener manner Marx Mattheson means measures melody metaphor move movement musical form Musik musikalische nature nineteenth century opening oration organic original particular passage patterns period perspective phrases presented Press provides recapitulation repeat represent rhetoric Satz sense similar single sonata form specific structure Symphony term Theile thematic theme theorists theory thought throughout traditional treatises turn units University various Versuch whole writings
Referencias a este libro
Bach's Works for Solo Violin: Style, Structure, Performance Joel Lester Vista previa restringida - 1999 |