Classical music and postmodern knowledge /
A leading cultural theorist and musicologist opens up new possibilities for understanding mainstream Western art music--the "classical" music composed between the eighteenth and early twentieth centuries that is, for many, losing both its prestige and its appeal. When this music is regarde...
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| Format: | Book |
| Language: | English |
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Berkeley :
University of California Press,
©1995.
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| Subjects: |
MARC
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| 100 | 1 | |a Kramer, Lawrence, |d 1946- | |
| 245 | 1 | 0 | |a Classical music and postmodern knowledge / |c Lawrence Kramer. |
| 260 | |a Berkeley : |b University of California Press, |c ©1995. | ||
| 300 | |a xvii, 297 pages : |b music ; |c 24 cm | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a unmediated |b n |2 rdamedia | ||
| 338 | |a volume |b nc |2 rdacarrier | ||
| 504 | |a Includes bibliographical references (pages 255-289) and index. | ||
| 505 | 0 | |a Prospects: postmodernism and musicology -- From the other to the abject: music as cultural trope -- Music and representation: in the beginning with Haydn's Creation -- Musical narratology: a theoretical outline -- Felix culpa: Mendelssohn, Goethe, and the social force of musical expression -- The Lied as cultural practice: tutelage, gender, and desire in Mendelssohn's Goethe songs -- Cultural politics and musical form: the case of Charles Ives -- Consuming the exotic: Ravel's Daphnis and Chloe -- Autonomy, Elvis, Cinders, fingering Bach -- Mendelssohn: three Goethe songs. | |
| 520 | |a A leading cultural theorist and musicologist opens up new possibilities for understanding mainstream Western art music--the "classical" music composed between the eighteenth and early twentieth centuries that is, for many, losing both its prestige and its appeal. When this music is regarded esoterically, removed from real-world interests, it increasingly sounds more evasive than transcendent. Now Lawrence Kramer shows how classical music can take on new meaning and new life when approached from postmodernist standpoints. Kramer draws out the musical implications of contemporary efforts to understand reason, language, and subjectivity in relation to concrete human activities rather than to universal principles. Extending the rethinking of musical expression begun in his earlier Music as Cultural Practice, he regards music not only as an object that invites aesthetic reception but also as an activity that vitally shapes the personal, social, and cultural identities of its listeners. Kramer provides an original account of the postmodernist ethos, explains its relationship to music, and explores that relationship in a series of case studies ranging from Haydn and Mendelssohn to Ives and Ravel. --From publisher's description. | ||
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