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CONTEMPORANEOUS CRITICISM OF BEETHOVEN : = A CASE STUDY IN MUSICAL AESTHETICS.

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	CONTEMPORANEOUS CRITICISM OF BEETHOVEN :/
Reminder of title:	A CASE STUDY IN MUSICAL AESTHETICS.
Author:	WALLACE, ROBIN EVAN.
Description:	1 online resource (293 pages)
Notes:	Source: Dissertation Abstracts International, Volume: 47-06, Section: A, page: 1924.
Subject:	Music. -
Online resource:	click for full text (PQDT)

CONTEMPORANEOUS CRITICISM OF BEETHOVEN : = A CASE STUDY IN MUSICAL AESTHETICS.
WALLACE, ROBIN EVAN.

CONTEMPORANEOUS CRITICISM OF BEETHOVEN :A CASE STUDY IN MUSICAL AESTHETICS. - 1 online resource (293 pages)

Source: Dissertation Abstracts International, Volume: 47-06, Section: A, page: 1924.

Thesis (Ph.D.)--Yale University, 1984.

Includes bibliographical references

There has never been a thorough survey of Beethoven's reception in the contemporaneous musical press, nor has there been a study of the aesthetic attitudes which that criticism represents. Consequently, Beethoven is not really understood as a man of his time; his own statements concerning his philosophical position are scarce and misleading, and the popular image of the composer as a transitional figure is clouded by semantic difficulties and outright contradictions. Opinions about Beethoven by his contemporaries, however, show surprising agreement, placing him squarely in the middle of the Romantic movement which he is now thought to have foreshadowed. These opinions, though varied, show that their writers shared certain common assumptions, which are characteristic of Romanticism. In particular, they show a belief in the ability of intuition to operate through art by synthesizing worldly and idealistic viewpoints within a single interpretation. This belief, which contradicts the traditional view of German idealist musical aesthetics, appears to have originated in Germany at the start of Beethoven's career, and to have spread to France at about the time his music reached that country in the late 1820's. An overview of Beethoven criticism in the most prominent musical journals of the early 19th century, followed by a comparison of three analyses of the 5th symphony by Beethoven's contemporaries, shows that it determined the very attitudes with which critics, of whatever persuasion, approached the study of his music. Finally, it is possible to suggest, through a combination of documentary and conjectural evidence, that Beethoven himself approached the composition of his music with such values in mind, and that these values, foreign as they are to the modern imagination, must be studied sympathetically if the apparent contradictions in his music are to be resolved.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

Subjects--Topical Terms:

649088
Music.
Index Terms--Genre/Form:

554714
Electronic books.

CONTEMPORANEOUS CRITICISM OF BEETHOVEN : = A CASE STUDY IN MUSICAL AESTHETICS.
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500 $a Source: Dissertation Abstracts International, Volume: 47-06, Section: A, page: 1924.
502 $a Thesis (Ph.D.)--Yale University, 1984.
504 $a Includes bibliographical references
520 $a There has never been a thorough survey of Beethoven's reception in the contemporaneous musical press, nor has there been a study of the aesthetic attitudes which that criticism represents. Consequently, Beethoven is not really understood as a man of his time; his own statements concerning his philosophical position are scarce and misleading, and the popular image of the composer as a transitional figure is clouded by semantic difficulties and outright contradictions. Opinions about Beethoven by his contemporaries, however, show surprising agreement, placing him squarely in the middle of the Romantic movement which he is now thought to have foreshadowed. These opinions, though varied, show that their writers shared certain common assumptions, which are characteristic of Romanticism. In particular, they show a belief in the ability of intuition to operate through art by synthesizing worldly and idealistic viewpoints within a single interpretation. This belief, which contradicts the traditional view of German idealist musical aesthetics, appears to have originated in Germany at the start of Beethoven's career, and to have spread to France at about the time his music reached that country in the late 1820's. An overview of Beethoven criticism in the most prominent musical journals of the early 19th century, followed by a comparison of three analyses of the 5th symphony by Beethoven's contemporaries, shows that it determined the very attitudes with which critics, of whatever persuasion, approached the study of his music. Finally, it is possible to suggest, through a combination of documentary and conjectural evidence, that Beethoven himself approached the composition of his music with such values in mind, and that these values, foreign as they are to the modern imagination, must be studied sympathetically if the apparent contradictions in his music are to be resolved.
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710 2 $a Yale University. $3 1178968
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