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Download Programming the Absolute: Nineteenth-Century German Music and the Hermeneutics of the Moment. fb2, epub

by Berthold Hoeckner

Download Programming the Absolute: Nineteenth-Century German Music and the Hermeneutics of the Moment. fb2, epub

ISBN: 0691001499
Author: Berthold Hoeckner
Language: English
Publisher: Princeton University Press (November 10, 2002)
Pages: 432
Category: Music
Subcategory: Art
Rating: 4.5
Votes: 527
Size Fb2: 1181 kb
Size ePub: 1442 kb
Size Djvu: 1486 kb
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Programming the Absolute book. Goodreads helps you keep track of books you want to read. Start by marking Programming the Absolute: Nineteenth-Century German Music and the Hermeneutics of the Moment as Want to Read: Want to Read savin. ant to Read.

Programming the Absolute discusses the notorious opposition between absolute and program music as a true dialectic that lies at the heart of nineteenth-century German music

Programming the Absolute discusses the notorious opposition between absolute and program music as a true dialectic that lies at the heart of nineteenth-century German music.

Berthold Hoeckner’s Programming the Absolute is an extraordinarily ambi-tious and accomplished essay in musical hermeneutics that focuses on central gures and works from the Austro-Germanic cultural pantheon. 1 The profun-dity of Hoeckner’s ruminations, the scope of his interpretive methods, and the subtlety of his dialectical argumentation combine to lend this book an endur-ing value not only for. scholars of music but also for the humanities in general. The threat looms, however, that in the current climate Hoeckner’s book will not be judged according to its own merits but rather depreciated.

It is a wonderful, often beautiful book. -Brian Hyer, University of Wisconsin-Madison "This is an important book that many in music will profit from confronting. It is a performative work, embodying and recreating what it wishes to argue.

May 2004 · Music and Letters.

Programming the Absolute: Nineteenth-Century German Music and the Hermeneutics of the Moment. This essay examines the story of two stories, both by Richard Wagner: a story of Lohengrin, knight of the Holy Grail, and of Lohengrin, the opera

Programming the Absolute: Nineteenth-Century German Music and the Hermeneutics of the Moment. List of Figures and Tables ix List of Examples xi Preface xv Introduction Musical Moments and the Moment of German Music 1 Chapter One Beethoven's Star 12 Chapter Two Schumann's Distance 51 Chapte. More). This essay examines the story of two stories, both by Richard Wagner: a story of Lohengrin, knight of the Holy Grail, and of Lohengrin, the opera. Lohengrin's story is well known: Elsa of Brabant.

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Alexander Rehding Berthold Hoeckner. Programming the Absolute: Nineteenth-Century German Music and the Hermeneutics of the Moment. Princeton: Princeton University Press, 2002. ll modern music begins with C, as Wagner pointed out, with the first chromatic note of the Eroica Symphony. And it ends with another C, as Thomas Mann argued, with the subtle chromatic inflection at the return of the Arietta in Beethoven’s o. 11. Between these two Beethovenian Cs unfolds the story of German music, whose story Berthold Hoeckner tells in his Programming the Absolute.

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Programming the Absolute discusses the notorious opposition between absolute and program music as a true dialectic that lies at the heart of nineteenth-century German music. Beginning with Beethoven, Berthold Hoeckner traces the aesthetic problem of musical meaning in works by Schumann, Wagner, Liszt, Mahler, and Schoenberg, whose private messages and public predicaments are emblematic for the cultural legacy of this rich repertory.

After Romanticism had elevated music as a language "beyond" language, the ineffable spurred an unprecedented proliferation of musical analysis and criticism. Taking his cue from Adorno, Hoeckner develops the idea of a "hermeneutics of a moment," which holds that musical meaning crystallizes only momentarily--in a particular passage, a progression, even a single note. And such moments can signify as little as a fleeting personal memory or as much as the whole of German music.

Although absolute music emerged with a matrix of values--the integrity of the subject, the aesthetic autonomy of art, and the intrinsic worth of high culture--that are highly contested in musicology today, Hoeckner argues that we should not completely discard the ideal of a music that continues to offer moments of transcendence and liberation.

Passionately and artfully written, Hoeckner's quest for an "essayistic musicology" displays an original intelligence willing to take interpretive risks. It is a provocative contribution to our knowledge about some of Europe's most important music--and to contemporary controversies over how music should be understood and experienced.

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