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Music and Sentiment Hardcover – June 29, 2010


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Product Details

  • Hardcover: 160 pages
  • Publisher: Yale University Press; F First Edition, 1st Printing edition (June 29, 2010)
  • Language: English
  • ISBN-10: 0300126409
  • ISBN-13: 978-0300126402
  • Product Dimensions: 0.8 x 5.8 x 8.8 inches
  • Shipping Weight: 13.4 ounces (View shipping rates and policies)
  • Average Customer Review: 3.8 out of 5 stars  See all reviews (4 customer reviews)
  • Amazon Best Sellers Rank: #542,090 in Books (See Top 100 in Books)

Editorial Reviews

Review

"Excellent. . . convincing. . . written in a highly-accessible style that will appeal to specialist and generalist alike."—Mark Sealey, Classical Net
(Mark Sealey Classical Net)

"A marvellous text—a civilized, provocative and delightful extended essay [in which] Rosen points the reader in the direction of old friends, musically speaking, and finds new things to say about them, all without a shred of unnecessary jargon."—Nigel Simeone, University of Sheffield
(Nigel Simeone)

"There are not many musicians who can convey the essence of music in an exciting way, and even fewer can support their opinions with knowledge of the practical, theoretical, and historical aspects of music. Charles Rosen is one of the few examples of the 'Renaissance Man' in musical matters, eminent not only as pianist but also as author and music critic. . . . He brings convincing arguments and through his immense knowledge he has no trouble finding interesting contradictions to commonly held views."—American Record Guide
(American Record Guide)

About the Author

Charles Rosen is an internationally renowned writer and pianist. His numerous books include Beethoven’s Piano Sonatas, published by Yale University Press.

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Customer Reviews

3.8 out of 5 stars
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Most Helpful Customer Reviews

33 of 36 people found the following review helpful By a customer on August 13, 2010
Format: Hardcover
After having read and reread Rosen's "The Classical Style" and "The Romantic Generation" many times, I had very high hopes for this new book. Unfortunately, it did not live up to my expectations.

First of all, it is much too short. At only 141 pages, Rosen simply does not have space to discuss his subject in much depth. Secondly, there is little that is new in this book. Many of the musical examples he discusses in this book are analyzed much more thoroughly and satisfyingly in his earlier works, and many of his insights into how the expression of emotion through music has changed over the centuries can also be found in a more fleshed out form in his other books. The proportions of the book also reveal that Rosen is mostly writing about music that he has already written a lot about: one chapter on Baroque music, three chapters on Haydn, Mozart, and Beethoven (the composers most discussed in "The Classical Style" and "Sonata Forms"), one chapter on the early Romantics (Chopin, Liszt, and Schumann, half of the composers discussed in "The Romantic Generation"), and one chapter on everything after them.

I also find that this book is simply not as well written as his others. While some may prefer Rosen's less dense and formal style in this book, I think that some of the rigor that is so key to his insights is lost. The book is also filled with contradictions and arguments with other music scholars over technical details. While such elements are not always bad provided that they are a source of insight, I did not find them to be so in this book. I suspect these problems may arise from the fact that this book was created from a series of lectures given by Rosen at the University of Indiana at Bloomington.
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13 of 15 people found the following review helpful By Robert Ginsberg on October 11, 2010
Format: Hardcover
I am inclined to agree overall with the previous reviewer (A customer). I too revere Charles Rosen's books and his essays on music (mostly in the NYRB), but this book is a disappointment in that it does not really address its topic. Rosen explicitly rejects the idea that any musical device or effect can be said to have a specific nonmusical connotation, but he does not then go on to explain how music does affect the emotions. Or, to be fair, he shows how music does create effects (through structure, key relationships, musical motifs, harmonic texture, etc.) but he almost never says what the effect is. Toward the end (p. 133) he says, in a parenthesis "It is obvious, for example, that the similar slow movements of Beethoven's op. 10. no. 3 and op. 106 both represent grief and despair, and both are a Largo in 6/8, but the emotion is so different in the two cases that characterizing it amounts simply to giving a detailed description of a performance of each." But I do think that the difference between the two slow movements is precisely what the potential reader of this book would like to have explicated, and the book offers no help. One last point: the discussion is, as always with Rosen, fairly technical, and an understanding of musical notation and familiarity with the mechanics of tonal music and the technical vocabulary of musical analysis are helpful. For anyone who does have that background, this book will be informative and interesting, even if it doesn't fulfill the promise in its title.
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1 of 1 people found the following review helpful By J. Nellos on February 18, 2013
Format: Hardcover Verified Purchase
Prompt delivery and book in great condition as described. Given as a gift and cannot say if she has enjoyed the book. Thank you
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10 of 32 people found the following review helpful By dreamer on July 15, 2010
Format: Hardcover Verified Purchase
The author raises an issue not discussed much earlier. The analysis and reasoning succeed in a brilliant way to a greater appreciation of music. Not a single line is uninteresting. Highly recommended!
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