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Books > Arts & Architecture > Music > Western music, periods & styles > Romantic music (c 1830 to c 1900)
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In the Process of Becoming - Analytic and Philosophical Perspectives on Form in Early Nineteenth-Century Music (Paperback)
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In the Process of Becoming - Analytic and Philosophical Perspectives on Form in Early Nineteenth-Century Music (Paperback)
Series: Oxford Studies in Music Theory
Expected to ship within 12 - 17 working days
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With their insistence that form is a dialectical process in the
music of Beethoven, Theodor Adorno and Carl Dahlhaus emerge as the
guardians of a long-standing critical tradition in which Hegelian
concepts have been brought to bear on the question of musical form.
Janet Schmalfeldt's ground-breaking account of the development of
this Beethoven-Hegelian tradition restores to the term "form" some
of its philosophical associations in the early nineteenth century,
when profound cultural changes were yielding new relationships
between composers and their listeners, and when music itself-in
particular, instrumental music-became a topic for renewed
philosophical investigation. Precedents for Adorno's and Dahlhaus's
concept of form as process arise in the Athenaum Fragments of
Friedrich Schlegel and in the Encyclopaedia Logic of Hegel. The
metaphor common to all these sources is the notion of becoming; it
is the idea of form coming into being that this study explores in
respect to music by Beethoven, Schubert, Mendelssohn, Chopin, and
Schumann. A critical assessment of Dahlhaus's preoccupation with
the opening of Beethoven's "Tempest" Sonata serves as the author's
starting point for the translation of philosophical ideas into
music-analytical terms-ones that encourage listening "both forward
and backward," as Adorno has recommended. Thanks to the
ever-growing familiarity of late eighteenth-century audiences with
formal conventions, composers could increasingly trust that
performers and listeners would be responsive to striking formal
transformations. The author's analytic method strives to capture
the dynamic, quasi-narrative nature of such transformations, rather
than only their end results. This experiential approach to the
perception of form invites listeners and especially performers to
participate in the interpretation of processes by which, for
example, a brooding introduction-like opening must inevitably
become the essential main theme in Schubert's Sonata, Op. 42, or in
which tremendous formal expansions in movements by Mendelssohn
offer a dazzling opportunity for multiple retrospective
reinterpretations. Above all, In the Process of Becoming proposes
new ways of hearing beloved works of the romantic generation as
representative of their striving for novel, intensely
self-reflective modes of communication.
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