A01=Michael P. Steinberg
Allgemeine musikalische Zeitung
Analogy
Arnold Schoenberg
At the Center
Austria-Hungary
Austro-Hungarian Compromise of 1867
Author_Michael P. Steinberg
Baroque architecture
Biasing
Category=AVA
Category=AVLA
Category=JBCC
Catholicism
Centrality
Chicago Symphony Orchestra
Composer
Demagogue
Don Giovanni
Endre Ady
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Ernst Bloch
Eroticism
Explication
Fanny Mendelssohn
Felix Mendelssohn
Forbidden knowledge
Frederick William IV of Prussia
Freedom From
George Steiner
Germans
Gilles Deleuze
Heinrich von Treitschke
Holy Roman Empire
Ideology
Insurgency
Interpellation (philosophy)
Intersubjectivity
Intertextuality
Jean-Jacques Rousseau
Judith Butler
Leipzig
Les Huguenots
Longevity
Ludwig van Beethoven
Martin Heidegger
Masculinity
Medievalism
Music Is
Musical instrument
Narrative
New German Critique
Overdetermination
Ownership
Peace of Augsburg
Performative contradiction
Phaedrus (dialogue)
Phrase (music)
Piety
Protestantism
Pun
Renunciation
Richard Wagner
Sadomasochism
Sophocles
Subjectivity
Symptom
Temporality
The Mighty
The Tales of Hoffmann
Transference
University of Nebraska Press
Usage
Utterance
Vagina
Visual arts
Product details
- ISBN 9780691126166
- Weight: 369g
- Dimensions: 152 x 235mm
- Publication Date: 02 Apr 2006
- Publisher: Princeton University Press
- Publication City/Country: US
- Product Form: Paperback
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This pathbreaking work reveals the pivotal role of music--musical works and musical culture--in debates about society, self, and culture that forged European modernity through the "long nineteenth century." Michael Steinberg argues that, from the late 1700s to the early 1900s, music not only reflected but also embodied modern subjectivity as it increasingly engaged and criticized old regimes of power, belief, and representation. His purview ranges from Mozart to Mahler, and from the sacred to the secular, including opera as well as symphonic and solo instrumental music. Defining subjectivity as the experience rather than the position of the "I," Steinberg argues that music's embodiment of subjectivity involved its apparent capacity to "listen" to itself, its past, its desires. Nineteenth-century music, in particular music from a north German Protestant sphere, inspired introspection in a way that the music and art of previous periods, notably the Catholic baroque with its emphasis on the visual, did not.
The book analyzes musical subjectivity initially from Mozart through Mendelssohn, then seeks it, in its central chapter, in those aspects of Wagner that contradict his own ideological imperialism, before finally uncovering its survival in the post-Wagnerian recovery from musical and other ideologies. Engagingly written yet theoretically sophisticated, Listening to Reason represents a startlingly original corrective to cultural history's long-standing inhibition to engage with music while presenting a powerful alternative vision of the modern.
Michael P. Steinberg is Professor of History and Music, and Inaugural Director of the Cogut Center for the Humanities at Brown University. He is Associate Editor of "The Musical Quarterly" as well as author of "Austria as Theater and Ideology: The Meaning of the Salzburg Festival", which won Austria's Victor Adler Prize for History in 2001. He is also the recipient of the Berlin Prize and a Guggenheim Fellowship.
