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Music, Criticism, and the Challenge of History - Shaping Modern Musical Thought in Late Nineteenth-Century Vienna (Hardcover)
Loot Price: R2,166
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Music, Criticism, and the Challenge of History - Shaping Modern Musical Thought in Late Nineteenth-Century Vienna (Hardcover)
Series: AMS Studies in Music
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More than a century after Guido Adler's appointment to the first
chair in musicology at the University of Vienna, Music, Criticism,
and the Challenge of History provides a first look at the
discipline in this earliest period, and at the ideological dilemmas
and methodological anxieties that characterized it upon its
institutionalization. Author Kevin Karnes contends that some of the
most vital questions surrounding musicology's disciplinary
identities today-the relationship between musicology and criticism,
the role of the subject in analysis and the narration of history,
and the responsibilities of the scholar to the listening
public-originate in these conflicted and largely forgotten
beginnings.
Karnes lays bare the nature of music study in the late nineteenth
century through insightful readings of long-overlooked
contributions by three of musicology's foremost pioneers-Adler,
Eduard Hanslick, and Heinrich Schenker. Shaped as much by the
skeptical pronouncements of the likes of Nietzsche and Wagner as it
was by progressivist ideologies of scientific positivism, the new
discipline comprised an array of oft-contested and intensely
personal visions of music study, its value, and its future. Karnes
introduces readers to a Hanslick who rejected the call of
positivist scholarship and dedicated himself to penning an avowedly
subjective history of Viennese musical life. He argues that
Schenker's analytical experiments had roots in a Wagner-inspired
search for a critical alternative to Adler's style-obsessed
scholarship. And he illuminates Adler's determined response to
Nietzsche's warnings about the vitality of artistic and cultural
life in an increasingly scientific age. Throughsophisticated and
meticulous presentation, Music, Criticism, and the Challenge of
History demonstrates that the new discipline of musicology was
inextricably tied in with the cultural discourse of its time.
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