By Daniel Chua
This e-book examines the highbrow historical past of instrumental track, specifically the belief of absolute track. It attempts to teach how sure rules in philosophy, theology and the sciences impact the which means and, certainly, the life of instrumental track, and the way, in flip, instrumental song is used to solve or exemplify definite difficulties in sleek tradition. rather than current in a natural and independent shape, song is woven again into the epistemological cloth and entangled with quite a few discourses, therefore demonstrating the centrality of song within the development of which means.
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Additional info for Absolute Music and the Construction of Meaning (New Perspectives in Music History and Criticism)
M. Knox 39 (Oxford: Clarendon Press, 1975), 54. , 61–2. On the revival of Pythagoreanism in early Romanticism, see John Neubauer, The Emancipation of Music from Language: Departure from Mimesis in Eighteenth-Century Aesthetic (New Haven: Yale University Press, 1986), 193–210. Friedrich Wilhelm Joseph von Schelling, Philosophie der Kunst (1802–3), in Peter le Huray and James Day, Music Aesthetics in the Eighteenth and Early-Nineteenth Centuries, (Cambridge: Cambridge University Press, 1981), 280.
E. T. A. Hoffmann, ‘Review of Beethoven’s Fifth Symphony’, Allgemeine musikalische Zeitung, vol. 12 (1810), ed. D. Charlton, trans. M. Clarke, E. T. A. Hoffmann’s Musical Writings: Kreisleriana, The Poet and the Composer, Music Criticism (Cambridge: Cambridge University Press, 1989), 238–9. J. M. Bernstein, The Fate of Art: Aesthetic Alienation from Kant to Derrida and Adorno (Cambridge: Polity Press, 1992), 4. 22 4 On division So modernity, by disenchanting the world, divides it. Modern music is therefore divided.
21 The Garden of Eden hoping to find some meaning among the rubble of facts. The Romantic concept of absolute music is therefore Neo-Platonicism in subjective form, the cosmology of a transcendental ego in search of an unattainable wholeness. They turned the ancient world on its head. This is why absolute music for the Romantics is posited as a work and not a system of tuning; it starts from the particular because the modern subject, in its delusion of genius, tries to create a universe out of itself, hoping to find a global system that might restore its fragmented existence.
Absolute Music and the Construction of Meaning (New Perspectives in Music History and Criticism) by Daniel Chua