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008 210824t20131991mau fo d z eng d
019 _a(OCoLC)1013937898
020 _a9780674733404
_qprint
020 _a9780674733411
_qPDF
024 7 _a10.4159/harvard.9780674733411
_2doi
035 _a(DE-B1597)9780674733411
035 _a(DE-B1597)247668
035 _a(OCoLC)900816957
040 _aDE-B1597
_beng
_cDE-B1597
_erda
072 7 _aMUS000000
_2bisacsh
084 _aonline - DeGruyter
100 1 _aBonds, Mark Evan
_eautore
245 1 0 _aWordless Rhetoric :
_bMusical Form and the Metaphor of the Oration /
_cMark Evan Bonds.
250 _aReprint 2013
264 1 _aCambridge, MA :
_bHarvard University Press,
_c[2013]
264 4 _c©1991
300 _a1 online resource (237 p.) :
_b24 line illustrations
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
490 0 _aStudies in the History of Music ;
_v4
505 0 0 _tFrontmatter --
_tAcknowledgments --
_tContents --
_tAbbreviations --
_tINTRODUCTION. Musical Form and Metaphor --
_tCHAPTER 1. The Paradox of Musical Form --
_tCHAPTER 2. Rhetoric and the Concept of Musical Form in the Eighteenth Century --
_tCHAPTER 3. Continuity and Change in Later Metaphors of Form --
_tCHAPTER 4. Rhetoric and the Autonomy of Instrumental Music --
_tCHAPTER 5. Rhetoric and the Role of the Listener in the Analysis of Large-Scale Form --
_tOriginals of Quotations Given in Translation --
_tIndex
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aAlthough “form” is one of the most commonly used terms in music interpretation, it remains one of the most ambiguous. This penetrating study explores evolving ideas of musical form from a historical perspective and sheds new light on current conceptualizations of music.Mark Evan Bonds examines the image—dominant among eighteenth-century composers and analysts—of music as a language, a kind of wordless discourse, which could move audiences. In the Baroque and Classical periods an instrumental composition was viewed as analogous to an oration, its form the intelligible elaboration of a central thematic idea. The predominant emphasis, therefore, was on the perspective of the listener. This rhetorical metaphor is shown giving way in the nineteenth century to the idea of a musical work as an organic entity, an image that emphasizes the autonomy of the work. The listener, in effect, becomes merely an interested third party.In his account of these changing perspectives, Bonds draws on the writing of a broad range of eighteenth- and nineteenth-century theorists. His analyses focus on specific sonata form movements by Haydn, Mozart, and Beethoven and are informed by the theoretical premises that characterize the composers’ own times. In a final synthesis, the eighteenth-century rhetorical model—with its focus on the structural function of musical ideas and the role of the listener—emerges as a forerunner of today’s listener-oriented and plot theories about musical form.In Wordless Rhetoric, Bonds makes fruitful use of literary theory to develop his innovative evaluation of musical form. This book will be invaluable to anyone who studies music or seeks to understand music analysis.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 24. Aug 2021)
650 0 _aMusical form.
650 0 _aMusik.
650 0 _aRetorica.
650 0 _aVormleer (muziek).
650 4 _aMusic -- Philosophy and aesthetics.
650 4 _aMusical form.
650 7 _aMUSIC / General.
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.4159/harvard.9780674733411
856 4 0 _uhttps://www.degruyter.com/isbn/9780674733411
856 4 2 _3Cover
_uhttps://www.degruyter.com/cover/covers/9780674733411.jpg
942 _cEB
999 _c193291
_d193291