Music as Cultural Practice, 1800-1900 (California Studies in by Lawrence Kramer
By Lawrence Kramer
In tune as Cultural perform, Lawrence Kramer adapts the assets of up to date literary idea to forge a really new discourse approximately tune. Rethinking basic questions of that means and expression, he demonstrates how ecu track of the 19th century collaborates on equivalent phrases with textual and sociocultural practices within the structure of self and society.In Kramer's research, compositional methods frequently understood in formal or emotive phrases reappear as energetic forces within the paintings of cultural formation. hence Beethoven's final piano sonata, Op. 111, types either a recognition and a critique of Romantic utopianism; Liszt's Faust Symphony takes bourgeois gender ideology right into a stricken include; Wagner's Tristan und Isolde articulates a easy switch within the cultural building of sexuality. via such readings, Kramer works towards the bigger end that nineteenth-century ecu song is worried as a lot to problem as to exemplify an ideology of natural solidarity and subjective wholeness. somebody attracted to tune, literary feedback, or nineteenth-century tradition will locate this ebook pertinent and provocative.
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Extra resources for Music as Cultural Practice, 1800-1900 (California Studies in 19th Century Music, No 8)
Example text
Wordsworth's impulse to "dissolve" the vision that doubles the ram may correspond to a wish to preserve the singleness, the self-sufficiency, of the creature that symbolically undoes the dependency of the lamb. Or Wordsworth may not want to be reminded by the vision that the natural ram is finally just a ''breathing creature," no less subject than the lamb to natural sorrows. Being "shadowy," the ram's counterpart is exempt from that fate. It is both an Elysian shade and a "shadow" (early-nineteenth-century usage for an image) that lies as much in the mind's eye as in the mountain pool.
Previous page page_21 next page > < previous page page_22 next page > Page 22 I During the late eighteenth century a structural trope that we can call expressive doubling came into wide circulation. Expressive doubling is a form of repetition in which alternative versions of the same pattern define a cardinal difference in perspective. This rather schematic definition will grow fuller as we proceed; meanwhile, a series of examples can concretize and to some degree historicize it. William Blake's sequence of illustrated poems Songs of Innocence and Experience (1794) shows "The Two Contrary States of the Human Soul" by matching most of its innocent numbers with a disturbed counterpart.
Kant's statement is from the conclusion to the Critique of Practical Reason. < previous page page_26 next page > < previous page page_27 next page > Page 27 The sky above precedes the law within, in a rhetorical sequence that cannot plausibly be reversed. Beethoven's paraphrase sweeps the two terms into an absolute, unqualified polarity between inner and outer, self and nature, in which the subjective term (democratically expanded to "us") gets pride of place. It is no doubt simplistic to remark that this reversal of hierarchies spells the difference between Enlightenment and Romanticism, but the temptation to say so is too great to resist.



