LEADER 00000cam a2200469 i 4500 
001    on1104214104 
003    OCoLC 
005    20200116020818.0 
008    190426t20202020nyua     b    001 0 eng   
010    2019020718 
020    0190068477|qhardcover :|c$35.00 
020    9780190068479|qhardcover :|c$35.00 
035    (OCoLC)1104214104|z(OCoLC)1104218545 
040    DLC|beng|erda|cDLC|dOCLCO|dBDX|dOCLCF|dYDX|dNYP|dTJC|dBKL
       |dUtOrBLW 
042    pcc 
049    BKLA 
082 00 781.1/7|223 
099    781.17|aB 
100 1  Bonds, Mark Evan,|eauthor. 
245 14 The Beethoven syndrome :|bhearing music as autobiography /
       |cMark Evan Bonds. 
264  1 New York, NY :|bOxford University Press,|c[2020] 
264  4 |c©2020 
300    xii, 325 pages :|billustrations ;|c25 cm 
336    text|btxt|2rdacontent 
337    unmediated|bn|2rdamedia 
338    volume|bnc|2rdacarrier 
504    Includes bibliographical references (pages 277-306) and 
       index. 
505 0  Introduction : The instrumental self -- Part one : The 
       paradigm of objective expression: 1770-1830. The framework
       of rhetoric ; Toward the perception of subjective 
       expression ; Hearing composers in their work -- Part two :
       The paradigm of subjective expression: 1830-1920. The 
       framework of hermeneutics ; First-person Beethoven ; After
       Beethoven -- Part three : Dul paradigms: since 1920. The 
       return of objectivity ; The endurance of subjectivity -- 
       Conclusion : Tracking comets. 
520    "The "Beethoven syndrome" is the inclination of listeners 
       to hear music as the projection of a composer's inner 
       self. This was a radically new way of listening that 
       emerged after Beethoven's death. Beethoven's music was a 
       catalyst for this change, but only in retrospect, for it 
       was not until after his death that listeners began to hear
       composers--and not just Beethoven--in their works, 
       particularly in their instrumental music. The Beethoven 
       syndrome: hearing music as autobiography traces the rise, 
       fall, and persistence of this mode of listening from the 
       middle of the eighteenth century to the present. Prior to 
       1830, composers and audiences alike operated within a 
       framework of rhetoric in which the burden of 
       intelligibility lay squarely on the composer, whose task 
       it was to move listeners in a calculated way. But through 
       a confluence of musical, philosophical, social, and 
       economic changes, the paradigm of expressive objectivity 
       gave way to one of subjectivity in the years around 1830. 
       The framework of rhetoric thus yielded to a framework of 
       hermeneutics: concert-goers no longer perceived composers 
       as orators but as oracles to be deciphered. In the wake of
       World War I, however, the aesthetics of 'new objectivity' 
       marked a return not only to certain stylistic features of 
       eighteenth-century music but also to the earlier concept 
       of expression itself. Objectivity would become the 
       cornerstone of the high modernist aesthetic that dominated
       the century's middle decades. Masterfully citing a broad 
       array of source material from composers, critics, 
       theorists, and philosophers, Mark Evan Bonds's engaging 
       study reveals how perceptions of subjective expression 
       have endured, leading to the present era of mixed and 
       often conflicting paradigms of listening"--Dust jacket 
       flap. 
600 10 Beethoven, Ludwig van,|d1770-1827|xAppreciation|xHistory. 
600 17 Beethoven, Ludwig van,|d1770-1827.|2fast
       |0(OCoLC)fst00042803 
650  0 Music|xPhilosophy and aesthetics|xHistory. 
650  0 Expression (Philosophy)|xHistory. 
650  7 Art appreciation.|2fast|0(OCoLC)fst00815447 
650  7 Expression (Philosophy)|2fast|0(OCoLC)fst00918886 
650  7 Music|xPhilosophy and aesthetics.|2fast
       |0(OCoLC)fst01030408 
655  7 History.|2fast|0(OCoLC)fst01411628 
947    jcb 
948    MARS 
994    C0|bBKL