By Lawrence Kramer
Lawrence Kramer has been a pivotal determine within the improvement of the arguable new musicology, integrating the research of track with social and cultural concerns. This available and eloquently written ebook keeps and deepens the trajectory of Kramer's pondering because it boldly argues that humanistic, not only technical, that means is a easy strength in tune background and an necessary think about how, the place, and whilst track is heard. Kramer attracts on a wide variety of tune and conception to teach that the matter of musical which means is not only an highbrow puzzle, yet a musical phenomenon in its personal correct. How have romantic narratives regarding Beethoven's "Moonlight" Sonata affected how we pay attention this recognized piece, and what do they exhibit approximately its tune? How does John Coltrane's African American id impact the way in which we listen him practice a comparatively "white" pop usual like "My favourite Things"? Why does tune requiring nice virtuosity have varied cultural meanings than tune that isn't really virtuosic? targeting the classical repertoire from Beethoven to Shostakovich and in addition discussing jazz, renowned track, and picture and tv tune, Musical which means uncovers the historic value of asking approximately that means within the lived event of musical works, kinds, and performances. Kramer's writing, transparent and entire of memorable formulations, demonstrates that wondering tune can turn into an essential technique of considering common questions of that means, subjectivity, and cost. as well as supplying theoretical advances and insights on specific items and repertoires, Musical which means can be provocative interpreting for these attracted to problems with identification, gender, and cultural conception. This e-book incorporates a CD of Kramer's personal composition, Revenants: 32 diversifications in C Minor, which he discusses in his ultimate bankruptcy.
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Additional info for Musical Meaning: Toward a Critical History
1. Schubert, Moment musical in A∫, opening figure Allegretto. Y ! Y YY 43 CCC p # YY Y 3 C Y 4 BO BB OO BO C CC C S S tion of syphilis as a physical pathology but not—despite his quotation from Wilson and another from King Lear—as a cultural construction. To fill these gaps, we need to hear the music in the context of the “discourse” on syphilis and to ask if their interrelationships, if any, are close enough to be significant. For Cone, Schubert’s Allegretto traces a movement from pleasurable temptation to the disastrous wages of sin, but it is also possible to hear this music as expressing a sense of suffocating paralysis from first to last.
Is woven all of one piece, and exactly modeled to the beautiful, simple, veracious lines of the [melodic] idea” (105–6). Like Marx, Rolland interprets the emotional process of the Adagio as exemplary; the Adagio is less a record of profound erotic love than a school for it. Here, too, the concrete figure of the beloved woman disappears, but this time to leave behind a tangible paradigm for the experience of loving her. Rolland’s generalizing of what Behrend calls “Beethoven’s love story” suggests the means by which the romance aura of the “Moonlight” Adagio expands to envelop the life stories of figures other than Beethoven: figures from Tolstoy’s exemplary bourgeois wife to the young lovers of the 1937 film Moonlight Sonata who cross paths with Ignace Jan Paderewski (appearing as himself) to the quasi-autobiographical protagonist of Mike Figgis’s film of 1999, The Loss of Sexual Innocence, in which only the music sustains the romantic ideal repeatedly lost in the narrative.
The fact part is well known. Giulietta Guicciardi, to whom the “Moonlight” Sonata is dedicated, engaged Beethoven’s romantic interest from 1801 to 1803, at which point she married someone else. 18 It almost seems as if the postponement of inevitable denial was the form by which Beethoven articulated his sexual desires. 1. 2 cm. Board of Trustees of the National Museums and Galleries on Merseyside (Walker Art Gallery, Liverpool). biographical interpretation and supported an enhanced, idealized view of the romance widely supposed to lie behind the “Moonlight” Sonata, in particular its Adagio.
Musical Meaning: Toward a Critical History by Lawrence Kramer