This book is a study of the prose writings of Richard Wagner and
their relevance to an understanding of his music and drama, as well
as their relation to music criticism and aesthetics in the
nineteenth century in general. As a by-product of Wagner's
many-faceted career as musician, conductor, cultural critic and
controversial ideologue, the writings are documents of undisputed
interpretative value. This study focuses on Wagner's words on
music, and interprets them in the light of the musical, aesthetic
and critical contexts that generated them. Professor Grey considers
Wagner's ambivalence concerning the idea of 'absolute music' and
the capacity of music to project meaning or drama from within its
own system of referents. Particularly relevant are Wagner's
appropriation of a Beethoven legacy, the metaphors of musical
'gender' and 'biology' in Opera and Drama and the critical
background to ideas of 'motive' and 'leitmotif' in theory and
practice.
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