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Poetry and the romantic musical aesthetic /
James H. Donelan describes how two poets, a philosopher, and a composer - Holderlin, Wordsworth, Hegel, and Beethoven - developed an idea of self-consciousness based on music at the turn of the nineteenth century. This idea became an enduring cultural belief: the understanding of music as an ideal r...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Cambridge ; New York :
Cambridge University Press,
2008.
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| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 100 | 1 | |a Donelan, James H., |d 1963- | |
| 245 | 1 | 0 | |a Poetry and the romantic musical aesthetic / |c James H. Donelan. |
| 260 | |a Cambridge ; |a New York : |b Cambridge University Press, |c 2008. | ||
| 300 | |a 1 online resource (xvi, 216 pages) | ||
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| 504 | |a Includes bibliographical references (pages 205-212) and index. | ||
| 505 | 0 | |a Self-consciousness and music in the late Enlightenment. Kant, self-consciousness, and aesthetics. Fichte, Schiller, Schelling, and the Systemprogramm fragment : the origins of Romantic self-consciousness. Mozart and the transformation of Enlightenment musical aesthetics. The beginning of Romantic musical self-consciousness -- Hölderlin's Deutscher Gesang and the music of poetic self-consciousness. "Urtheil und Seyn" : existence in poetry. "Wechsel der Töne" : the music of poetic language. Divine self-positing : "Dichterberuf " and the first letter to Böhlendorff. "Brod und Wein," "Patmos," and "Wie wenn am Feiertage" : the divine origin of Deutscher Gesang -- Hegel's aesthetic theory : self-consciousness and musical material. Hegel's aesthetic lectures : origin and context. Hegelian self-consciousness and art. Music and the Hegelian forms of art. Music and Subjectivity. The problem of absolute music. Poetry and music -- Nature, music, and the imagination in Wordsworth's poetry. Song and articulate meaning : "The solitary reaper". Natural music in The prelude. Text, voice, and imagination : "The dream of the Arab". Natural sound and childhood death : "The boy of Winander". Textual silence : "The blind beggar". Conclusion : "On the Power of Sound" and The Prelude -- Beethoven and musical self-consciousness. Beethoven's intellectual life. The Heroic style (1803-12) . The Late style (1813-27) . Opus 130/133, string quartet No. 13 in Bb: first movement. String quartet no. 13 : middle movements. String quartet no. 13 : Große Fuge and Finale. Reception of the late quartets. Conclusion : the meaning of a quartet -- The persistence of sound. | |
| 520 | |a James H. Donelan describes how two poets, a philosopher, and a composer - Holderlin, Wordsworth, Hegel, and Beethoven - developed an idea of self-consciousness based on music at the turn of the nineteenth century. This idea became an enduring cultural belief: the understanding of music as an ideal representation of the autonomous creative mind. Against a background of political and cultural upheaval, these four major figures - all born in 1770 - developed this idea in both metaphorical and actual musical structures, thereby establishing both the theory and the practice of asserting self-identity in music. Beethoven still carries the image of the heroic composer today; this book describes how it originated in both his music and in how others responded to him. Bringing together the fields of philosophy, musicology, and literary criticism, Donelan shows how this development emerged from the complex changes in European cultural life taking place between 1795 and 1831. | ||
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| 650 | 6 | |a Romantisme. | |
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