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  • 1
    Online-Ressource
    Online-Ressource
    New York :Oxford University Press,
    UID:
    almahu_9948344917602882
    Umfang: 1 online resource (xii, 325 pages) : , illustrations.
    ISBN: 9780190068509 (ebook) :
    Serie: Oxford scholarship online
    Inhalt: The "Beethoven syndrome" is the inclination of listeners to hear music as the projection of a composer's inner self. 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 in general-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.
    Weitere Ausg.: Print version : ISBN 9780190068479
    Sprache: Englisch
    Bibliothek Standort Signatur Band/Heft/Jahr Verfügbarkeit
    BibTip Andere fanden auch interessant ...
  • 2
    Buch
    Buch
    Oxford : Oxford University Press
    UID:
    kobvindex_ZLB34355098
    Umfang: 344 Seiten
    ISBN: 9780190068479
    Inhalt: 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 only 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 in general-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 ofexpressive 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 to the earlier concept of expression itself. Objectivity would go on to 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 ofsubjective expression have endured, leading to the present era of mixed and often conflicting paradigms of listening.
    Anmerkung: Englisch
    Sprache: Englisch
    Bibliothek Standort Signatur Band/Heft/Jahr Verfügbarkeit
    BibTip Andere fanden auch interessant ...
  • 3
    Buch
    Buch
    New York, NY : Oxford University Press
    UID:
    gbv_1667262181
    Umfang: xii, 325 Seiten , Illustrationen , 25 cm
    ISBN: 9780190068479
    Anmerkung: Literaturangaben
    Weitere Ausg.: ISBN 9780190068509
    Weitere Ausg.: ISBN 9780190068486
    Weitere Ausg.: ISBN 9780190068493
    Sprache: Englisch
    Schlagwort(e): Beethoven, Ludwig van 1770-1827 ; Musik ; Musikwahrnehmung ; Rezeption ; Geschichte 1830-
    Bibliothek Standort Signatur Band/Heft/Jahr Verfügbarkeit
    BibTip Andere fanden auch interessant ...
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