They no longer approached these works solely as a source of entertainment, but increasingly as a source of truth. Listening to form : the refuge of absolute music. I am also grateful to the American Academy in Berlin, where as the DaimlerChrysler Fellow during the fall of 2002 I worked on something more nearly resembling the present book. Music as Thought traces the roots of this fundamental shift in attitudes toward listening in the late eighteenth and early nineteenth centuries. A seminar is an opportunity to learn how to carry out research, how to present it, and how to give and receive constructive criticism. Music as Thought traces the roots of this fundamental shift in attitudes toward listening in the late eighteenth and early nineteenth centuries. Translations into Spanish Barcelona: Acantilado, 2014 and Japanese Tokyo: Artes, 2015.
But by the early 1800s, a dramatic shift was under way. Purely instrumental music was now being hailed as a means to knowledge and embraced precisely because Before the nineteenth century, instrumental music was considered inferior to vocal music. The result is a compelling story with a fresh polemical spin. Listening had become a way of knowing. Yet again it draws the important distinction between the politicization of music and the politicization of listening to music.
Yet the fact that this particular explanation of Symphony should be taken up so readily in so many accounts of the work testifies to a deep-seated desire to connect purely instrumental music with the larger realm of ideas. However familiar you are with the music and history of the period under examination here, Bonds does a very good job indeed of knitting together otherwise potentially diverse themes, currents and figures in ways that, perhaps, you hadn't considered before. Most music-lovers will be familiar with the ways in which Beethoven revolutionized music, musical expectations at least. In Music as Thought: Listening to the Symphony in the Age of Beethoven 2006 , I focused on the period between ca. But by the early 1800s, a dramatic shift was under way.
Allusions to other works of music offered yet another cryptic means by which composers could invest instrumental works with meaning of a kind. For musical meaning, however one defines that deeply problematic concept, is a construct that arises out of the act of listening and is thus shaped as much by the listener as by the musical work being heard. The result is a compelling story with a fresh polemical spin. This change, instead, was driven by a radically new conception of all the arts—including music—that emerged in German-speaking lands toward the end of the eighteenth century. My current project, a monograph entitled Music as Autobiography, examines the idea of music as a vehicle of self-expression.
Russian translation Moscow: Delo under contract for publication in 2019. Vienna: Verlag der Apfel, 2017. Music as Thought is a fascinating reinterpretation of the causes and effects of a revolution in listening. Purely instrumental music was now being hailed as a means to knowledge and embraced precisely because of its independence from the limits of language. Devotional music and music specifically in aid of worship were felt to need text in order to express or even to have any accepted purpose. Focusing on responses to the symphony in the age of Beethoven, Mark Evan Bonds draws on contemporary accounts and a range of sources--philosophical, literary, political, and musical--to reveal how this music was experienced by those who heard it first.
There was a certain insistence — as a matter of polemic, almost — that music emphatically was not representational. A music appreciation textbook for general undergraduates, with a major online component. Focusing on responses to the symphony in the age of Beethoven, Mark Evan Bonds draws on contemporary accounts and a range of sources--philosophical, literary, political, and musical--to reveal how this music was experienced by those who heard it first. While in Berlin, I also learned much from the students in the Blockseminar I directed at the Musikwissenschaftliches Institut of the Humboldt-Universität on the German music festival in the nineteenth century. In Wordless Rhetoric: Musical Form and the Metaphor of the Oration 1991 , I examined the understanding of music as a language, a conceptual metaphor that flourished throughout the eighteenth century. Boshamer Distinguished Professor Mark Evan Bonds Cary C.
Since Bonds is so good at explaining the key movements, moments and achievements of the key figures, though, this book can be treated almost as much as a narrative as an exhaustive exegesis. There can be no doubt that a work such as the Eroica changed expectations and assumptions about the nature of its genre and the capacity of instrumental music to serve as a vehicle of ideas. But by the early 1800s, a dramatic shift was under way. Purely instrumental music was now being hailed as a means to knowledge and embraced precisely because of its independence from the limits of language. The Fifth Symphony offers a case in point. Bonds demonstrates how this idea of music as thought began in the age of Beethoven.
It is a reinterpretation of the causes and effects of a revolution in listening. In Intersecçõnes da Teoria e Análise Musicais com os Campos da Musciologia Histórica, da Composição e das Práticas Interpretativas, 15-26. The tendency to hear life-as-works and works-as-life nevertheless retains a powerful hold on the Western imagination. He was on the outside of the book, but not on the inside. Listening had become a way of knowing. The perception of the symphony as a means of thought was already in place by the late 1790s, before Beethoven had even begun to write symphonies at all.
My focus, then, is on the premises of perception rather than on the works themselves. This perception of instrumental music as a vehicle of ideas did not originate in responses to Beethoven or his symphonies, however. Yet these changes, as I argue in the first two chapters of this book, arose independently of any work or any particular repertory: they are the product of a far broader change in attitudes toward the very act of perception itself, the way in which a subject the listener apprehends an object the musical work. What had once been perceived as entertainment was heard increasingly as a vehicle of thought. Dorothea, Peter, and Andrew have seen this book through since its inception, and it has taken us many places. This information is provided by a service that aggregates data from review sources and other sources that are often consulted by libraries, and readers. What had once been perceived as entertainment was heard increasingly as a vehicle of thought.
The University does not edit this information and merely includes it as a convenience for users. Through this fellowship, a good portion of this book happened to be written across the street from the cemetery in which Fichte and Hegel lie buried. In recent years, I have taught undergraduate courses in music history, music appreciation, the music of Haydn and Mozart, the music of Beethoven, and Music and Politics. The second revolution was social. Chinese translation: Beijing: Pearson Education Asia and Peking University Press, 2006. This attitude has provided a basic framework for most histories of music, in which individual composers contribute in varying degrees to the development of the art.