LEADER 00000cam a2200469 i 4500
008 190426t20202020nyua b 001 0 eng
020 0190068477|qhardcover :|c$35.00
020 9780190068479|qhardcover :|c$35.00
082 00 781.1/7|223
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
264 4 |c©2020
300 xii, 325 pages :|billustrations ;|c25 cm
504 Includes bibliographical references (pages 277-306) and
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
600 10 Beethoven, Ludwig van,|d1770-1827|xAppreciation|xHistory.
600 17 Beethoven, Ludwig van,|d1770-1827.|2fast
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
655 7 History.|2fast|0(OCoLC)fst01411628
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