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Books > Arts & Architecture > Music > Western music, periods & styles > Romantic music (c 1830 to c 1900)
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The Beethoven Syndrome - Hearing Music as Autobiography (Hardcover)
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The Beethoven Syndrome - Hearing Music as Autobiography (Hardcover)
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The "Beethoven Syndrome" is the inclination of listeners to hear
music as the projection of a composer's inner self. This was a
radically new way of listening that emerged only after Beethoven's
death. Beethoven's music was a catalyst for this change, but only
in retrospect, for it was not until after his death that listeners
began to hear composers in general-and not just Beethoven-in their
works, particularly in their instrumental music. The Beethoven
Syndrome: Hearing Music as Autobiography traces the rise, fall, and
persistence of this mode of listening from the middle of the
eighteenth century to the present. Prior to 1830, composers and
audiences alike operated within a framework of rhetoric in which
the burden of intelligibility lay squarely on the composer, whose
task it was to move listeners in a calculated way. But through a
confluence of musical, philosophical, social, and economic changes,
the paradigm of expressive objectivity gave way to one of
subjectivity in the years around 1830. The framework of rhetoric
thus yielded to a framework of hermeneutics: concert-goers no
longer perceived composers as orators but as oracles to be
deciphered. In the wake of World War I, however, the aesthetics of
"New Objectivity" marked a return not only to certain stylistic
features of eighteenth-century music but to the earlier concept of
expression itself. Objectivity would go on to become the
cornerstone of the high modernist aesthetic that dominated the
century's middle decades. Masterfully citing a broad array of
source material from composers, critics, theorists, and
philosophers, Mark Evan Bonds's engaging study reveals how
perceptions of subjective expression have endured, leading to the
present era of mixed and often conflicting paradigms of listening.
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