Wagner's melodies : aesthetics and materialism in German musical identity
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書誌事項
Wagner's melodies : aesthetics and materialism in German musical identity
Cambridge University Press, 2013
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注記
Includes bibliographical references (p. 408-438) and index
内容説明・目次
内容説明
Since the 1840s, critics have lambasted Wagner for lacking the ability to compose melody. But for him, melody was fundamental - 'music's only form'. This incongruity testifies to the surprising difficulties during the nineteenth century of conceptualizing melody. Despite its indispensable place in opera, contemporary theorists were unable even to agree on a definition for it. In Wagner's Melodies, David Trippett re-examines Wagner's central aesthetic claims, placing the composer's ideas about melody in the context of the scientific discourse of his age: from the emergence of the natural sciences and historical linguistics to sources about music's stimulation of the body and inventions for 'automatic' composition. Interweaving a rich variety of material from the history of science, music theory, music criticism, private correspondence and court reports, Trippett uncovers a new and controversial discourse that placed melody at the apex of artistic self-consciousness and generated problems of urgent dimensions for German music aesthetics.
目次
- Introduction
- 1. German melody
- 2. Melodielehre?
- 3. Wagner in the melodic workshop
- 4. Hearing voices: Wilhelmine Schroeder-Devrient and the Lohengrin 'Recitatives'
- 5. Vowels, voices, and 'original truth'
- 6. Wagner's material expression
- Excursus: Bellini's Sinnlichkeit and Wagner's Italy.
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