The silent attentiveness expected of concert audiences is one of the most distinctive characteristics of modern Western musical culture. This is the first book properly to examine the concept of attention in the history of musical thought and its foundations in the writings of German musical commentators of the late eighteenth century. Matthew Riley examines the significant writers on the topic (Descartes, Leibniz, Wolff, Baumgarten, Rousseau, Meier, Sulzer and Forkel) and provides analytical case studies to illustrate how these perceived modes of attention shaped interpretations of music of the period.…mehr
The silent attentiveness expected of concert audiences is one of the most distinctive characteristics of modern Western musical culture. This is the first book properly to examine the concept of attention in the history of musical thought and its foundations in the writings of German musical commentators of the late eighteenth century. Matthew Riley examines the significant writers on the topic (Descartes, Leibniz, Wolff, Baumgarten, Rousseau, Meier, Sulzer and Forkel) and provides analytical case studies to illustrate how these perceived modes of attention shaped interpretations of music of the period.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Contents: Introduction Attentive Listening: The problem of attention The theory and significance of attention: Descartes to Meier Pleasure, emotion and the 'flow' experience Adaptation of mimesis Adaptation of rhetoric Wonder and astonishment. Interlude: Rousseau's Transports of Attention: Simultaneous and successive unities Applications. Sulzer and the Aesthetic Force of Music: Civilizing the savage The aesthetic force of music. Forkel on Expert and Amateur Listening Practices: Kenner and Liebhaber: two modes of hearing Musical decline and Forkel's remedy Concert programming: pleasure, amusement and instrumental music A metaphysical history of musical hearing A new approach to attention. Elements of a Rhetoric of Attention: Arousing the attention: the rules of periodicity Sustaining the attention: a musical dispositio Forkel on music-rhetorical figures The rhetoric in practice: Georg Benda and C.P.E. Bach. Bibliography Index.
Contents: Introduction Attentive Listening: The problem of attention The theory and significance of attention: Descartes to Meier Pleasure, emotion and the 'flow' experience Adaptation of mimesis Adaptation of rhetoric Wonder and astonishment. Interlude: Rousseau's Transports of Attention: Simultaneous and successive unities Applications. Sulzer and the Aesthetic Force of Music: Civilizing the savage The aesthetic force of music. Forkel on Expert and Amateur Listening Practices: Kenner and Liebhaber: two modes of hearing Musical decline and Forkel's remedy Concert programming: pleasure, amusement and instrumental music A metaphysical history of musical hearing A new approach to attention. Elements of a Rhetoric of Attention: Arousing the attention: the rules of periodicity Sustaining the attention: a musical dispositio Forkel on music-rhetorical figures The rhetoric in practice: Georg Benda and C.P.E. Bach. Bibliography Index.
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