"Die luft van anderem planeten": metaphysical resonances in Arnold Schoenberg's second string quartet

Első borító
University of Wisconsin--Madison, 2007 - 227 oldal
This study also engages the ongoing debate within musicology regarding music's ontological status. I specifically address two interrelated and highly contested notions, musical autonomy and musical metaphysics, arguing that they should be both relevant and legitimate topics of study. I also offer evidence that the notion of absolute music is not limited to nineteenth-century aesthetics, but is instead embedded within the etymology of the word "music" itself. My contention is that absolute music is a concept with a long and vast history, one that is more complex than recent discussion has allowed. This is extraordinarily important for understanding historical figures like Schoenberg, who grasped absolute music's history and complex meaning and subscribed to it wholeheartedly. Indeed, one can see Schoenberg's Second String Quartet as wrestling with the issues raised by absolute music in the metaphysical tradition. What I hope to ultimately show is that the concept of absolute music is not normalizing and restrictive; on the contrary, it can serve as a locus for transgressive politics, a plateau of critical inquiry that resists social conventions and offers alternative modes of conduct.

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Acknowledgments
1
Chapter Two
62
Chapter Three
103
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