The Beethoven Syndrome: Hearing Music as Autobiography traces the rise, fall, and persistence of a radical new mode of listening from the middle of the eighteenth century to the present.
The Beethoven Syndrome: Hearing Music as Autobiography traces the rise, fall, and persistence of a radical new mode of listening from the middle of the eighteenth century to the present.
Mark Evan Bonds is the Cary C. Boshamer Distinguished Professor of Music at the University of North Carolina at Chapel Hill, where he has taught since 1992. He has served as editor-in-chief of Beethoven Forum and has published widely on music, aesthetics, and the philosophy of music.
Inhaltsangabe
Introduction: The Instrumental Self Part 1: The Paradigm of Objective Expression: 1770-1830 Chapter 1: The Framework of Rhetoric Chapter 2: Toward Subjective Expression Chapter 3: The Composer in the Work Part 2: The Paradigm of Subjective Expression: 1830-1920 Chapter 4: The Framework of Hermeneutics Chapter 5: First-Person Beethoven Chapter 6: After Beethoven Part 3: Dual Paradigms: Since 1920 Chapter 7: The Return of Objectivity Chapter 8: The Endurance of Subjectivity Conclusion: Tracking Comets Bibliography
Introduction: The Instrumental Self Part 1: The Paradigm of Objective Expression: 1770-1830 Chapter 1: The Framework of Rhetoric Chapter 2: Toward Subjective Expression Chapter 3: The Composer in the Work Part 2: The Paradigm of Subjective Expression: 1830-1920 Chapter 4: The Framework of Hermeneutics Chapter 5: First-Person Beethoven Chapter 6: After Beethoven Part 3: Dual Paradigms: Since 1920 Chapter 7: The Return of Objectivity Chapter 8: The Endurance of Subjectivity Conclusion: Tracking Comets Bibliography
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