The silent attentiveness expected of concert audiences is one of the most distinctive characteristics of modern Western musical culture. This is the first book to examine the concept of attention in the history of musical thought and its foundations in the writings of German musical commentators of the late eighteenth century. Those critics explained numerous technical features of the music of their time as devices for arousing, sustaining or otherwise influencing the attention of a listener, citing in illustration works by Gluck, C. P. E. Bach, Georg Benda and others. Two types of attention were identified: the uninterrupted experience of a single emotional state conveyed by a piece of music as a whole, and the fleeting sense of 'wonder' or 'astonishment' induced by a local event in a piece. The relative validity of these two modes was a topic of heated debate in the German Enlightenment, encompassing issues of musical communication, compositional integrity and listener competence. Matthew Riley examines the significant writers on the topic (Descartes, Leibniz, Wolff, Baumgarten, Rousseau, Meier, Sulzer and Forkel) and provides analytical case studies to illustrate how these perceived modes of attention shaped interpretations of music of the period.
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About the Author
Dr Matthew Riley is a Lecturer in the Department of Music at the University of Birmingham, UK.
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Front Cover | Front Flap | Table of Contents | First Pages | Index | Back Flap | Back Cover | Surprise Me!
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Today's musicology fastens on issues of listeners and listening, turning a once neglected field into one of its central preoccupations. Read the first page Key Phrases - Capitalized Phrases (CAPs): (learn more)
Allgemeine Geschichte, Cambridge University Press, Georg Olms, Georg Benda, Johann Mattheson, Johann Nikolaus Forkel, Wordless Rhetoric, Gesammelte Werke, Moses Mendelssohn, New York, Bernard Lamy, Carl Friedrich Cramer, Heinrich Christoph Koch, Johann Georg Sulzer, Keyboard Sonata, Musikalisches Lexicon, Bachs Leben, Carl Philipp Emanuel Bach, Changing Aesthetic Views, Frederick the Great, The Free Fantasia, Clarendon Press, Die Bedeutung des Wertesystems, Elaine Sisman, Georg Friedrich Meier New!
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Front Cover | Front Flap | Table of Contents | First Pages | Index | Back Flap | Back Cover | Surprise Me!
Today's musicology fastens on issues of listeners and listening, turning a once neglected field into one of its central preoccupations. Read the first page Key Phrases - Capitalized Phrases (CAPs): (learn more)
Allgemeine Geschichte, Cambridge University Press, Georg Olms, Georg Benda, Johann Mattheson, Johann Nikolaus Forkel, Wordless Rhetoric, Gesammelte Werke, Moses Mendelssohn, New York, Bernard Lamy, Carl Friedrich Cramer, Heinrich Christoph Koch, Johann Georg Sulzer, Keyboard Sonata, Musikalisches Lexicon, Bachs Leben, Carl Philipp Emanuel Bach, Changing Aesthetic Views, Frederick the Great, The Free Fantasia, Clarendon Press, Die Bedeutung des Wertesystems, Elaine Sisman, Georg Friedrich Meier New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Front Flap | Table of Contents | First Pages | Index | Back Flap | Back Cover | Surprise Me!
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cites this book:
- The Bach Reader: A Life of Johann Sebastian Bach in Letters and Documents, Revised Edition by Hans T. David on page 118, page 119, and Back Matter
- Haydn and the Classical Variation (Studies in the History of Music) by Elaine R. Sisman on page 42, page 43, and Back Matter
- In Defence of Rhetoric by Brian Vickers on page 43, page 44, and Back Matter
- Music and Aesthetics in the Eighteenth and Early Nineteenth Centuries (Cambridge Readings in the Literature of Music) by Peter le Huray on page 45, page 79, and Back Matter
- Haydn and His World by Elaine R. Sisman on page 43, page 79, and Back Matter
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- Music as Thought: Listening to the Symphony in the Age of Beethoven by Mark Evan Bonds in Back Matter (1), and Back Matter (2)
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