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The Musical Discourse of Servitude - Authority, Autonomy, and the Work-Concept in Fux, Bach and Handel (Hardcover)
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The Musical Discourse of Servitude - Authority, Autonomy, and the Work-Concept in Fux, Bach and Handel (Hardcover)
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Examining, for the first time, the compositions of Johann Joseph
Fux in relation to his contemporaries Bach and Handel, The Musical
Discourse of Servitude presents a new theory of the late baroque
musical imagination. Author Harry White contrasts musical
"servility" and "freedom" in his analysis, with Fux tied to the
prevailing servitude of the day's musical imagination, particularly
the hegemonic flowering of North Italian partimento method across
Europe. In contrast, both Bach and Handel represented an autonomy
of musical discourse, with Bach exhausting generic models in the
mass and Handel inventing a new genre in the oratorio. A potent
critique of Lydia Goehr's seminal The Imaginary Museum of Musical
Works, The Musical Discourse of Servitude draws on Goehr's
formulation of the "work-concept" as an imaginary construct which,
according to Goehr, is an invention of nineteenth-century reception
history. White locates this concept as a defining agent of automony
in Bach's late works, and contextualized the "work-concept" itself
by exploring rival concepts of political, religious, and musical
authority which define the European musical imagination in the
first half of the eighteenth century. A major revisionist statement
about the musical imagination in Western art music, The Musical
Discourse of Servitude will be of interest to scholars of the
Baroque, particularly of Bach and Handel.
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