This critical study locates musical monumentality, a central property of the nineteenth-century German repertoire, at the intersections of aesthetics and memory. In examples including Beethoven, Liszt, Wagner and Bruckner, Rehding explores how monumentality contributes to an experiential music history and how it conveys the sublime to the listening public.
This critical study locates musical monumentality, a central property of the nineteenth-century German repertoire, at the intersections of aesthetics and memory. In examples including Beethoven, Liszt, Wagner and Bruckner, Rehding explores how monumentality contributes to an experiential music history and how it conveys the sublime to the listening public.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Alexander Rehding is the Fanny Peabody Professor of Music at Harvard University, an affiliate of the Department of Germanic Languages and Literatures, and an associate at the Center for European Studies. His research specializes in nineteenth-century music and in history of music theory. He is author of Hugo Riemann and the Birth of Modern Musical Thought.
Inhaltsangabe
Acknowledgements Preface Introduction - Facets of musical monumentality Chapter 1 - Musical Apotheoses Chapter 2 - Sounding Souvenirs Chapter 3 - Classical Values Chapter 4 - Collective Historia Chapter 5 - Faustian Descents Epilogue - Beethoven's Ninth at the Wall Bibliography Index