Musical Listening in the German Enlightenment
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A01=Matthew Riley
aesthetic
Aesthetic Force
Allgemeine Geschichte
Allgemeine Geschichte Der Musik
Allgemeine Theorie
attention
Attentive Listening
Augmented Sixth
Author_Matthew Riley
Basic Aesthetic Principles
Category=AV
compulsive
Compulsive Attention
concert audience behaviour
Contemporary Society
Dictionnaire De Musique
Die Wahre Art Das Clavier
Eighteenth Century Music
eighteenth-century criticism
emotional response in music
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eq_isMigrated=1
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force
forkel
German music theory
historical analysis of musical attention
johann
Johann Nikolaus Forkel
Kenner Und Liebhaber
Le Devin Du Village
listener perception
Listener's Interest
Listener’s Interest
Modern Language
music aesthetics
Music Rhetorical Figures
Musical Rhetoric
nikolaus
Proper Attentiveness
Ranieri Calzabigi
Savage Music
Successive Unity
Versuch Einer Anleitung Zur Composition
Wagner's Festspielhaus
Wagner’s Festspielhaus
Product details
- ISBN 9780754632672
- Weight: 453g
- Dimensions: 156 x 234mm
- Publication Date: 22 Oct 2004
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Hardback
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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.
Matthew Riley, University of Birmingham, UK
