Proposes a new way of listening to Beethoven by understanding his music as an expression of his entire self, not just the iconic scowl Despite the ups and downs of his personal life and professional career - even in the face of deafness - Beethoven remained remarkably consistent in his most basic convictions about his art. This inner consistency, writes the music historian Mark Evan Bonds, provides the key to understanding the composer's life and works. Beethoven approached music as he approached life, weighing whatever occupied him from a variety of perspectives: a melodic idea, a musical genre, a word or phrase, a friend, a lover, a patron, money, politics, religion. His ability to unlock so many possibilities from each helps explain the emotional breadth and richness of his output as a whole, from the heaven-storming Ninth Symphony to the eccentric Eighth, and from the arcane Great Fugue to the crowd-pleasing Wellington's Victory. Beethoven's works, Bonds argues, are a series of variations on his life. The iconic scowl so familiar from later images of the composer is but one of many attitudes he could assume and project through his music. The supposedly characteristic furrowed brow and frown, moreover, came only after his time. Discarding tired myths about the composer, Bonds proposes a new way of listening to Beethoven by hearing his music as an expression of his entire self, not just his scowling self.

Proposes a new way of listening to Beethoven by understanding his music as an expression of his entire self, not just the iconic scowl Despite the ups and downs of his personal life and professional career - even in the face of deafness - Beethoven remained remarkably consistent in his most basic convictions about his art. This inner consistency, writes the music historian Mark Evan Bonds, provides the key to understanding the composer''s life and works. Beethoven approached music as he approached life, weighing whatever occupied him from a variety of perspectives: a melodic idea, a musical genre, a word or phrase, a friend, a lover, a patron, money, politics, religion. His ability to unlock so many possibilities from each helps explain the emotional breadth and richness of his output as a whole, from the heaven-storming Ninth Symphony to the eccentric Eighth, and from the arcane Great Fugue to the crowd-pleasing Wellington''s Victory. Beethoven''s works, Bonds argues, are a series of variations on his life. The iconic scowl so familiar from later images of the composer is but one of many attitudes he could assume and project through his music. The supposedly characteristic furrowed brow and frown, moreover, came only after his time. Discarding tired myths about the composer, Bonds proposes a new way of listening to Beethoven by hearing his music as an expression of his entire self, not just his scowling self.

Proposes a new way of listening to Beethoven by understanding his music as an expression of his entire self, not just the iconic scowl Despite the ups and downs of his personal life and professional career - even in the face of deafness - Beethoven remained remarkably consistent in his most basic convictions about his art. This inner consistency, writes the music historian Mark Evan Bonds, provides the key to understanding the composer''s life and works. Beethoven approached music as he approached life, weighing whatever occupied him from a variety of perspectives: a melodic idea, a musical genre, a word or phrase, a friend, a lover, a patron, money, politics, religion. His ability to unlock so many possibilities from each helps explain the emotional breadth and richness of his output as a whole, from the heaven-storming Ninth Symphony to the eccentric Eighth, and from the arcane Great Fugue to the crowd-pleasing Wellington''s Victory. Beethoven''s works, Bonds argues, are a series of variations on his life. The iconic scowl so familiar from later images of the composer is but one of many attitudes he could assume and project through his music. The supposedly characteristic furrowed brow and frown, moreover, came only after his time. Discarding tired myths about the composer, Bonds proposes a new way of listening to Beethoven by hearing his music as an expression of his entire self, not just his scowling self.

Despite the ups and downs of his personal life and professional career-even in the face of deafness-Beethoven remained remarkably consistent in his most basic convictions about his art. This inner consistency, the music historian Mark Evan Bonds argues, provides the key to understanding the composer's life and works. Beethoven approached music as he approached life, weighing whatever occupied him from a variety of perspectives: a melodic idea, a musical genre, a word or phrase, a friend, a lover, a patron, money, politics, religion. His ability to unlock so many possibilities from each helps explain the emotional breadth and richness of his output as a whole, from the heaven-storming Ninth Symphony to the eccentric Eighth, and from the arcane Great Fugue to the crowd-pleasing Wellington's Victory. Beethoven's works, Bonds argues, are a series of variations on his life. The iconic scowl so familiar from later images of the composer is but one of many attitudes he could assume and project through his music. The supposedly characteristic furrowed brow and frown, moreover, came only after his time. Discarding tired myths about the composer, Bonds proposes a new way of listening to Beethoven by hearing his music as an expression of his entire self, not just his scowling self.

Despite the ups and downs of his personal life and professional career-even in the face of deafness-Beethoven remained remarkably consistent in his most basic convictions about his art. This inner consistency, the music historian Mark Evan Bonds argues, provides the key to understanding the composer''s life and works. Beethoven approached music as he approached life, weighing whatever occupied him from a variety of perspectives: a melodic idea, a musical genre, a word or phrase, a friend, a lover, a patron, money, politics, religion. His ability to unlock so many possibilities from each helps explain the emotional breadth and richness of his output as a whole, from the heaven-storming Ninth Symphony to the eccentric Eighth, and from the arcane Great Fugue to the crowd-pleasing Wellington''s Victory. Beethoven''s works, Bonds argues, are a series of variations on his life. The iconic scowl so familiar from later images of the composer is but one of many attitudes he could assume and project through his music. The supposedly characteristic furrowed brow and frown, moreover, came only after his time. Discarding tired myths about the composer, Bonds proposes a new way of listening to Beethoven by hearing his music as an expression of his entire self, not just his scowling self.

Despite the ups and downs of his personal life and professional career-even in the face of deafness-Beethoven remained remarkably consistent in his most basic convictions about his art. This inner consistency, the music historian Mark Evan Bonds argues, provides the key to understanding the composer''s life and works. Beethoven approached music as he approached life, weighing whatever occupied him from a variety of perspectives: a melodic idea, a musical genre, a word or phrase, a friend, a lover, a patron, money, politics, religion. His ability to unlock so many possibilities from each helps explain the emotional breadth and richness of his output as a whole, from the heaven-storming Ninth Symphony to the eccentric Eighth, and from the arcane Great Fugue to the crowd-pleasing Wellington''s Victory. Beethoven''s works, Bonds argues, are a series of variations on his life. The iconic scowl so familiar from later images of the composer is but one of many attitudes he could assume and project through his music. The supposedly characteristic furrowed brow and frown, moreover, came only after his time. Discarding tired myths about the composer, Bonds proposes a new way of listening to Beethoven by hearing his music as an expression of his entire self, not just his scowling self.

The "Beethoven Syndrome" is the inclination of listeners to hear music as the projection of a composer's inner self. This was a radically new way of listening that emerged only after Beethoven's death. Beethoven's music was a catalyst for this change, but only in retrospect, for it was not until after his death that listeners began to hear composers in general-and not just Beethoven-in their works, particularly in their instrumental music.The Beethoven Syndrome: Hearing Music as Autobiography traces the rise, fall, and persistence of this mode of listening from the middle of the eighteenth century to the present. Prior to 1830, composers and audiences alike operated within a framework of rhetoric in which the burden of intelligibility lay squarely on the composer, whose task it was to move listeners in a calculated way. But through a confluence of musical, philosophical, social, and economic changes, the paradigm of expressive objectivity gave way to one of subjectivity in the years around 1830. The framework of rhetoric thus yielded to a framework of hermeneutics: concert-goers no longer perceived composers as orators but as oracles to be deciphered. In the wake of World War I, however, the aesthetics of "New Objectivity" marked a return not only to certain stylistic features of eighteenth-century music but to the earlier concept of expression itself. Objectivity would go on to become the cornerstone of the high modernist aesthetic that dominated the century's middle decades. Masterfully citing a broad array of source material from composers, critics, theorists, and philosophers, Mark Evan Bonds's engaging study reveals how perceptions of subjective expression have endured, leading to the present era of mixed and often conflicting paradigms of listening.

The "Beethoven Syndrome" is the inclination of listeners to hear music as the projection of a composer''s inner self. This was a radically new way of listening that emerged only after Beethoven''s death. Beethoven''s music was a catalyst for this change, but only in retrospect, for it was not until after his death that listeners began to hear composers in general--and not just Beethoven--in their works, particularly in their instrumental music.The Beethoven Syndrome: Hearing Music as Autobiography traces the rise, fall, and persistence of this mode of listening from the middle of the eighteenth century to the present. Prior to 1830, composers and audiences alike operated within a framework of rhetoric in which the burden of intelligibility lay squarely on the composer, whose task it was to move listeners in a calculated way. But through a confluence of musical, philosophical, social, and economic changes, the paradigm of expressive objectivity gave way to one of subjectivity in the years around 1830. The framework of rhetoric thus yielded to a framework of hermeneutics: concert-goers no longer perceived composers as orators but as oracles to be deciphered. In the wake of World War I, however, the aesthetics of "New Objectivity" marked a return not only to certain stylistic features of eighteenth-century music but to the earlier concept of expression itself. Objectivity would go on to become the cornerstone of the high modernist aesthetic that dominated the century''s middle decades. Masterfully citing a broad array of source material from composers, critics, theorists, and philosophers, Mark Evan Bonds''s engaging study reveals how perceptions of subjective expression have endured, leading to the present era of mixed and often conflicting paradigms of listening.

The "Beethoven Syndrome" is the inclination of listeners to hear music as the projection of a composer''s inner self. This was a radically new way of listening that emerged only after Beethoven''s death. Beethoven''s music was a catalyst for this change, but only in retrospect, for it was not until after his death that listeners began to hear composers in general--and not just Beethoven--in their works, particularly in their instrumental music.The Beethoven Syndrome: Hearing Music as Autobiography traces the rise, fall, and persistence of this mode of listening from the middle of the eighteenth century to the present. Prior to 1830, composers and audiences alike operated within a framework of rhetoric in which the burden of intelligibility lay squarely on the composer, whose task it was to move listeners in a calculated way. But through a confluence of musical, philosophical, social, and economic changes, the paradigm of expressive objectivity gave way to one of subjectivity in the years around 1830. The framework of rhetoric thus yielded to a framework of hermeneutics: concert-goers no longer perceived composers as orators but as oracles to be deciphered. In the wake of World War I, however, the aesthetics of "New Objectivity" marked a return not only to certain stylistic features of eighteenth-century music but to the earlier concept of expression itself. Objectivity would go on to become the cornerstone of the high modernist aesthetic that dominated the century''s middle decades. Masterfully citing a broad array of source material from composers, critics, theorists, and philosophers, Mark Evan Bonds''s engaging study reveals how perceptions of subjective expression have endured, leading to the present era of mixed and often conflicting paradigms of listening.

What is music, and why does it move us? From Pythagoras to the present, writers have struggled to isolate the essence of "pure" or "absolute" music in ways that also account for its profound effect. In Absolute Music: The History of an Idea, Mark Evan Bonds traces the history of these efforts across more than two millennia, paying special attention to the relationship between music's essence and its qualities of form, expression, beauty, autonomy, as well as its perceived capacity to disclose philosophical truths.The core of this book focuses on the period between 1850 and 1945. Although the idea of pure music is as old as antiquity, the term "absolute music" is itself relatively recent. It was Richard Wagner who coined the term, in 1846, and he used it as a pejorative in his efforts to expose the limitations of purely instrumental music. For Wagner, music that was "absolute" was isolated, detached from the world, sterile. His contemporary, the Viennese critic Eduard Hanslick, embraced this quality of isolation as a guarantor of purity. Only pure, absolute music, he argued, could realize the highest potential of the art. Bonds reveals how and why perceptions of absolute music changed so radically between the 1850s and 1920s. When it first appeared, "absolute music" was a new term applied to old music, but by the early decades of the twentieth century, it had become-paradoxically--an old term associated with the new music of modernists like Schoenberg and Stravinsky. Bonds argues that the key developments in this shift lay not in discourse about music but rather the visual arts. The growing prestige of abstraction and form in painting at the turn of the twentieth century-line and color, as opposed to object-helped move the idea of purely abstract, absolute music to the cutting edge of musical modernism. By carefully tracing the evolution of absolute music from Ancient Greece through the Middle Ages to the twentieth-century, Bonds not only provides the first comprehensive history of this pivotal concept but also provokes new thoughts on the essence of music and how essence has been used to explain music's effect. A long awaited book from one of the most respected senior scholars in the field, Absolute Music will be essential reading for anyone interested in the history, theory, and aesthetics of music.

We've all heard some version of the line: "I enjoy classical music but don't know anything about it." Why but? Why and when did listeners begin to accept the idea that knowledge was needed to enjoy this particular repertory? Music's Fourth Wall and the Rise of Reflective Listening traces fundamental changes in the way listeners perceived instrumental music in European concert halls over the course of the late eighteenth and early nineteenth centuries. Like the theater, the concert hall has its own fourth wall, an imagined barrier that allows audiences to forget that what they are experiencing is a carefully crafted artifice, which in turn allows them to lose themselves in the music and resonate with it in a way that is immediate and direct. But when composers like Joseph Haydn began to violate music's fourth wall--most spectacularly in the finale of the "Joke" String Quartet (1782), with its repeated false endings--lay listeners were compelled to listen reflectively. They could not lose themselves in what they were hearing when it kept reminding them that they were listening to a work of music.Author Mark Evan Bonds uses the concepts of resonant and reflective listening as coordinates for tracing this important change in the history of concert-hall listening. By 1850, reflective listening--once limited largely to professional musicians and connoisseurs--had become the aspirational norm for lay listeners. Contemporary developments in the philosophy of art accelerated the growing status of instrumental music by promoting a mode of perception that went beyond the merely sensory to incorporate the intellectual as well: Beethoven famously thought of himself as a "tone poet," someone who not only moved listeners but also challenged them to think and reflect.Lay audiences thus gradually accepted the idea of listening as a skill that could be learned and cultivated. Bonds shows how music appreciation texts, composer biographies, program notes, and pre-concert lectures, all new during this period, helped reinforce a growing distinction between classical and popular repertories. For better or worse, the ideal of reflective listening has prevailed ever since.

We've all heard some version of the line: "e;I enjoy classical music but don't know anything about it."e; Why but? Why and when did listeners begin to accept the idea that knowledge was needed to enjoy this particular repertory? Music's Fourth Wall and the Rise of Reflective Listening traces fundamental changes in the way listeners perceived instrumental music in European concert halls over the course of the late eighteenth and early nineteenth centuries. Like the theater, the concert hall has its own fourth wall, an imagined barrier that allows audiences to forget that what they are experiencing is a carefully crafted artifice, which in turn allows them to lose themselves in the music and resonate with it in a way that is immediate and direct. But when composers like Joseph Haydn began to violate music's fourth wall--most spectacularly in the finale of the "e;Joke"e; String Quartet (1782), with its repeated false endings--lay listeners were compelled to listen reflectively. They could not lose themselves in what they were hearing when it kept reminding them that they were listening to a work of music. Author Mark Evan Bonds uses the concepts of resonant and reflective listening as coordinates for tracing this important change in the history of concert-hall listening. By 1850, reflective listening--once limited largely to professional musicians and connoisseurs--had become the aspirational norm for lay listeners. Contemporary developments in the philosophy of art accelerated the growing status of instrumental music by promoting a mode of perception that went beyond the merely sensory to incorporate the intellectual as well: Beethoven famously thought of himself as a "e;tone poet,"e; someone who not only moved listeners but also challenged them to think and reflect. Lay audiences thus gradually accepted the idea of listening as a skill that could be learned and cultivated. Bonds shows how music appreciation texts, composer biographies, program notes, and pre-concert lectures, all new during this period, helped reinforce a growing distinction between classical and popular repertories. For better or worse, the ideal of reflective listening has prevailed ever since.

We've all heard some version of the line: "e;I enjoy classical music but don't know anything about it."e; Why but? Why and when did listeners begin to accept the idea that knowledge was needed to enjoy this particular repertory? Music's Fourth Wall and the Rise of Reflective Listening traces fundamental changes in the way listeners perceived instrumental music in European concert halls over the course of the late eighteenth and early nineteenth centuries. Like the theater, the concert hall has its own fourth wall, an imagined barrier that allows audiences to forget that what they are experiencing is a carefully crafted artifice, which in turn allows them to lose themselves in the music and resonate with it in a way that is immediate and direct. But when composers like Joseph Haydn began to violate music's fourth wall--most spectacularly in the finale of the "e;Joke"e; String Quartet (1782), with its repeated false endings--lay listeners were compelled to listen reflectively. They could not lose themselves in what they were hearing when it kept reminding them that they were listening to a work of music. Author Mark Evan Bonds uses the concepts of resonant and reflective listening as coordinates for tracing this important change in the history of concert-hall listening. By 1850, reflective listening--once limited largely to professional musicians and connoisseurs--had become the aspirational norm for lay listeners. Contemporary developments in the philosophy of art accelerated the growing status of instrumental music by promoting a mode of perception that went beyond the merely sensory to incorporate the intellectual as well: Beethoven famously thought of himself as a "e;tone poet,"e; someone who not only moved listeners but also challenged them to think and reflect. Lay audiences thus gradually accepted the idea of listening as a skill that could be learned and cultivated. Bonds shows how music appreciation texts, composer biographies, program notes, and pre-concert lectures, all new during this period, helped reinforce a growing distinction between classical and popular repertories. For better or worse, the ideal of reflective listening has prevailed ever since.

What is music, and why does it move us? From Pythagoras to the present, writers have struggled to isolate the essence of "pure" or "absolute" music in ways that also account for its profound effect. In Absolute Music: The History of an Idea, Mark Evan Bonds traces the history of these efforts across more than two millennia, paying special attention to the relationship between music's essence and its qualities of form, expression, beauty, autonomy, as well as its perceived capacity to disclose philosophical truths.The core of this book focuses on the period between 1850 and 1945. Although the idea of pure music is as old as antiquity, the term "absolute music" is itself relatively recent. It was Richard Wagner who coined the term, in 1846, and he used it as a pejorative in his efforts to expose the limitations of purely instrumental music. For Wagner, music that was "absolute" was isolated, detached from the world, sterile. His contemporary, the Viennese critic Eduard Hanslick, embraced this quality of isolation as a guarantor of purity. Only pure, absolute music, he argued, could realize the highest potential of the art. Bonds reveals how and why perceptions of absolute music changed so radically between the 1850s and 1920s. When it first appeared, "absolute music" was a new term applied to old music, but by the early decades of the twentieth century, it had become-paradoxically--an old term associated with the new music of modernists like Schoenberg and Stravinsky. Bonds argues that the key developments in this shift lay not in discourse about music but rather the visual arts. The growing prestige of abstraction and form in painting at the turn of the twentieth century-line and color, as opposed to object-helped move the idea of purely abstract, absolute music to the cutting edge of musical modernism. By carefully tracing the evolution of absolute music from Ancient Greece through the Middle Ages to the twentieth-century, Bonds not only provides the first comprehensive history of this pivotal concept but also provokes new thoughts on the essence of music and how essence has been used to explain music's effect. A long awaited book from one of the most respected senior scholars in the field, Absolute Music will be essential reading for anyone interested in the history, theory, and aesthetics of music.

What is music, and why does it move us? From Pythagoras to the present, writers have struggled to isolate the essence of "pure" or "absolute" music in ways that also account for its profound effect. In Absolute Music: The History of an Idea, Mark Evan Bonds traces the history of these efforts across more than two millennia, paying special attention to the relationship between music''s essence and its qualities of form, expression, beauty, autonomy, as well as its perceived capacity to disclose philosophical truths.The core of this book focuses on the period between 1850 and 1945. Although the idea of pure music is as old as antiquity, the term "absolute music" is itself relatively recent. It was Richard Wagner who coined the term, in 1846, and he used it as a pejorative in his efforts to expose the limitations of purely instrumental music. For Wagner, music that was "absolute" was isolated, detached from the world, sterile. His contemporary, the Viennese critic Eduard Hanslick, embraced this quality of isolation as a guarantor of purity. Only pure, absolute music, he argued, could realize the highest potential of the art.Bonds reveals how and why perceptions of absolute music changed so radically between the 1850s and 1920s. When it first appeared, "absolute music" was a new term applied to old music, but by the early decades of the twentieth century, it had become-paradoxically--an old term associated with the new music of modernists like Schoenberg and Stravinsky. Bonds argues that the key developments in this shift lay not in discourse about music but rather the visual arts. The growing prestige of abstraction and form in painting at the turn of the twentieth century-line and color, as opposed to object-helped move the idea of purely abstract, absolute music to the cutting edge of musical modernism.By carefully tracing the evolution of absolute music from Ancient Greece through the Middle Ages to the twentieth-century, Bonds not only provides the first comprehensive history of this pivotal concept but also provokes new thoughts on the essence of music and how essence has been used to explain music''s effect. A long awaited book from one of the most respected senior scholars in the field, Absolute Music will be essential reading for anyone interested in the history, theory, and aesthetics of music.

What is music, and why does it move us? From Pythagoras to the present, writers have struggled to isolate the essence of "pure" or "absolute" music in ways that also account for its profound effect. In Absolute Music: The History of an Idea, Mark Evan Bonds traces the history of these efforts across more than two millennia, paying special attention to the relationship between music''s essence and its qualities of form, expression, beauty, autonomy, as well as its perceived capacity to disclose philosophical truths.The core of this book focuses on the period between 1850 and 1945. Although the idea of pure music is as old as antiquity, the term "absolute music" is itself relatively recent. It was Richard Wagner who coined the term, in 1846, and he used it as a pejorative in his efforts to expose the limitations of purely instrumental music. For Wagner, music that was "absolute" was isolated, detached from the world, sterile. His contemporary, the Viennese critic Eduard Hanslick, embraced this quality of isolation as a guarantor of purity. Only pure, absolute music, he argued, could realize the highest potential of the art.Bonds reveals how and why perceptions of absolute music changed so radically between the 1850s and 1920s. When it first appeared, "absolute music" was a new term applied to old music, but by the early decades of the twentieth century, it had become-paradoxically--an old term associated with the new music of modernists like Schoenberg and Stravinsky. Bonds argues that the key developments in this shift lay not in discourse about music but rather the visual arts. The growing prestige of abstraction and form in painting at the turn of the twentieth century-line and color, as opposed to object-helped move the idea of purely abstract, absolute music to the cutting edge of musical modernism.By carefully tracing the evolution of absolute music from Ancient Greece through the Middle Ages to the twentieth-century, Bonds not only provides the first comprehensive history of this pivotal concept but also provokes new thoughts on the essence of music and how essence has been used to explain music''s effect. A long awaited book from one of the most respected senior scholars in the field, Absolute Music will be essential reading for anyone interested in the history, theory, and aesthetics of music.

Before the nineteenth century, instrumental music was considered inferior to vocal music. Kant described wordless music as "more pleasure than culture," and Rousseau dismissed it for its inability to convey concepts. But by the early 1800s, a dramatic shift was under way. Purely instrumental music was now being hailed as a means to knowledge and embraced precisely because of its independence from the limits of language. What had once been perceived as entertainment was heard increasingly as a vehicle of thought. Listening had become a way of knowing. Music as Thought traces the roots of this fundamental shift in attitudes toward listening in the late eighteenth and early nineteenth centuries. Focusing on responses to the symphony in the age of Beethoven, Mark Evan Bonds draws on contemporary accounts and a range of sources--philosophical, literary, political, and musical--to reveal how this music was experienced by those who heard it first. Music as Thought is a fascinating reinterpretation of the causes and effects of a revolution in listening.

Книга «Синдром Бетховена. Музыка как автобиография» анализирует, казалось бы, привычный подход к пониманию музыкальных произведений: слушатель воспринимает их как отражение внутреннего мира композитора. Этот тип восприятия музыки сформировался уже после смерти Бетховена: именно после его ухода слушатели начали видеть в творчестве композиторов, особенно в инструментальных произведениях, нечто глубоко личное и эмоциональное. В книге прослеживается история возникновения и развития этого особого вида музыкального сотворчества — от середины XVIII века до наших дней.

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Proposes a new way of listening to Beethoven by understanding his music as an expression of his entire self, not just the iconic scowl Despite the ups and downs of his personal life and professional career - even in the face of deafness - Beethoven remained remarkably consistent in his most basic convictions about his art. This inner consistency, writes the music historian Mark Evan Bonds, provides the key to understanding the composer's life and works. Beethoven approached music as he approached life, weighing whatever occupied him from a variety of perspectives: a melodic idea, a musical genre, a word or phrase, a friend, a lover, a patron, money, politics, religion. His ability to unlock so many possibilities from each helps explain the emotional breadth and richness of his output as a whole, from the heaven-storming Ninth Symphony to the eccentric Eighth, and from the arcane Great Fugue to the crowd-pleasing Wellington's Victory. Beethoven's works, Bonds argues, are a series of variations on his life. The iconic scowl so familiar from later images of the composer is but one of many attitudes he could assume and project through his music. The supposedly characteristic furrowed brow and frown, moreover, came only after his time. Discarding tired myths about the composer, Bonds proposes a new way of listening to Beethoven by hearing his music as an expression of his entire self, not just his scowling self.

Proposes a new way of listening to Beethoven by understanding his music as an expression of his entire self, not just the iconic scowl Despite the ups and downs of his personal life and professional career - even in the face of deafness - Beethoven remained remarkably consistent in his most basic convictions about his art. This inner consistency, writes the music historian Mark Evan Bonds, provides the key to understanding the composer''s life and works. Beethoven approached music as he approached life, weighing whatever occupied him from a variety of perspectives: a melodic idea, a musical genre, a word or phrase, a friend, a lover, a patron, money, politics, religion. His ability to unlock so many possibilities from each helps explain the emotional breadth and richness of his output as a whole, from the heaven-storming Ninth Symphony to the eccentric Eighth, and from the arcane Great Fugue to the crowd-pleasing Wellington''s Victory. Beethoven''s works, Bonds argues, are a series of variations on his life. The iconic scowl so familiar from later images of the composer is but one of many attitudes he could assume and project through his music. The supposedly characteristic furrowed brow and frown, moreover, came only after his time. Discarding tired myths about the composer, Bonds proposes a new way of listening to Beethoven by hearing his music as an expression of his entire self, not just his scowling self.

Proposes a new way of listening to Beethoven by understanding his music as an expression of his entire self, not just the iconic scowl Despite the ups and downs of his personal life and professional career - even in the face of deafness - Beethoven remained remarkably consistent in his most basic convictions about his art. This inner consistency, writes the music historian Mark Evan Bonds, provides the key to understanding the composer''s life and works. Beethoven approached music as he approached life, weighing whatever occupied him from a variety of perspectives: a melodic idea, a musical genre, a word or phrase, a friend, a lover, a patron, money, politics, religion. His ability to unlock so many possibilities from each helps explain the emotional breadth and richness of his output as a whole, from the heaven-storming Ninth Symphony to the eccentric Eighth, and from the arcane Great Fugue to the crowd-pleasing Wellington''s Victory. Beethoven''s works, Bonds argues, are a series of variations on his life. The iconic scowl so familiar from later images of the composer is but one of many attitudes he could assume and project through his music. The supposedly characteristic furrowed brow and frown, moreover, came only after his time. Discarding tired myths about the composer, Bonds proposes a new way of listening to Beethoven by hearing his music as an expression of his entire self, not just his scowling self.

Despite the ups and downs of his personal life and professional career-even in the face of deafness-Beethoven remained remarkably consistent in his most basic convictions about his art. This inner consistency, the music historian Mark Evan Bonds argues, provides the key to understanding the composer's life and works. Beethoven approached music as he approached life, weighing whatever occupied him from a variety of perspectives: a melodic idea, a musical genre, a word or phrase, a friend, a lover, a patron, money, politics, religion. His ability to unlock so many possibilities from each helps explain the emotional breadth and richness of his output as a whole, from the heaven-storming Ninth Symphony to the eccentric Eighth, and from the arcane Great Fugue to the crowd-pleasing Wellington's Victory. Beethoven's works, Bonds argues, are a series of variations on his life. The iconic scowl so familiar from later images of the composer is but one of many attitudes he could assume and project through his music. The supposedly characteristic furrowed brow and frown, moreover, came only after his time. Discarding tired myths about the composer, Bonds proposes a new way of listening to Beethoven by hearing his music as an expression of his entire self, not just his scowling self.

Despite the ups and downs of his personal life and professional career-even in the face of deafness-Beethoven remained remarkably consistent in his most basic convictions about his art. This inner consistency, the music historian Mark Evan Bonds argues, provides the key to understanding the composer''s life and works. Beethoven approached music as he approached life, weighing whatever occupied him from a variety of perspectives: a melodic idea, a musical genre, a word or phrase, a friend, a lover, a patron, money, politics, religion. His ability to unlock so many possibilities from each helps explain the emotional breadth and richness of his output as a whole, from the heaven-storming Ninth Symphony to the eccentric Eighth, and from the arcane Great Fugue to the crowd-pleasing Wellington''s Victory. Beethoven''s works, Bonds argues, are a series of variations on his life. The iconic scowl so familiar from later images of the composer is but one of many attitudes he could assume and project through his music. The supposedly characteristic furrowed brow and frown, moreover, came only after his time. Discarding tired myths about the composer, Bonds proposes a new way of listening to Beethoven by hearing his music as an expression of his entire self, not just his scowling self.

Despite the ups and downs of his personal life and professional career-even in the face of deafness-Beethoven remained remarkably consistent in his most basic convictions about his art. This inner consistency, the music historian Mark Evan Bonds argues, provides the key to understanding the composer''s life and works. Beethoven approached music as he approached life, weighing whatever occupied him from a variety of perspectives: a melodic idea, a musical genre, a word or phrase, a friend, a lover, a patron, money, politics, religion. His ability to unlock so many possibilities from each helps explain the emotional breadth and richness of his output as a whole, from the heaven-storming Ninth Symphony to the eccentric Eighth, and from the arcane Great Fugue to the crowd-pleasing Wellington''s Victory. Beethoven''s works, Bonds argues, are a series of variations on his life. The iconic scowl so familiar from later images of the composer is but one of many attitudes he could assume and project through his music. The supposedly characteristic furrowed brow and frown, moreover, came only after his time. Discarding tired myths about the composer, Bonds proposes a new way of listening to Beethoven by hearing his music as an expression of his entire self, not just his scowling self.

The "Beethoven Syndrome" is the inclination of listeners to hear music as the projection of a composer's inner self. This was a radically new way of listening that emerged only after Beethoven's death. Beethoven's music was a catalyst for this change, but only in retrospect, for it was not until after his death that listeners began to hear composers in general-and not just Beethoven-in their works, particularly in their instrumental music.The Beethoven Syndrome: Hearing Music as Autobiography traces the rise, fall, and persistence of this mode of listening from the middle of the eighteenth century to the present. Prior to 1830, composers and audiences alike operated within a framework of rhetoric in which the burden of intelligibility lay squarely on the composer, whose task it was to move listeners in a calculated way. But through a confluence of musical, philosophical, social, and economic changes, the paradigm of expressive objectivity gave way to one of subjectivity in the years around 1830. The framework of rhetoric thus yielded to a framework of hermeneutics: concert-goers no longer perceived composers as orators but as oracles to be deciphered. In the wake of World War I, however, the aesthetics of "New Objectivity" marked a return not only to certain stylistic features of eighteenth-century music but to the earlier concept of expression itself. Objectivity would go on to become the cornerstone of the high modernist aesthetic that dominated the century's middle decades. Masterfully citing a broad array of source material from composers, critics, theorists, and philosophers, Mark Evan Bonds's engaging study reveals how perceptions of subjective expression have endured, leading to the present era of mixed and often conflicting paradigms of listening.

The "Beethoven Syndrome" is the inclination of listeners to hear music as the projection of a composer''s inner self. This was a radically new way of listening that emerged only after Beethoven''s death. Beethoven''s music was a catalyst for this change, but only in retrospect, for it was not until after his death that listeners began to hear composers in general--and not just Beethoven--in their works, particularly in their instrumental music.The Beethoven Syndrome: Hearing Music as Autobiography traces the rise, fall, and persistence of this mode of listening from the middle of the eighteenth century to the present. Prior to 1830, composers and audiences alike operated within a framework of rhetoric in which the burden of intelligibility lay squarely on the composer, whose task it was to move listeners in a calculated way. But through a confluence of musical, philosophical, social, and economic changes, the paradigm of expressive objectivity gave way to one of subjectivity in the years around 1830. The framework of rhetoric thus yielded to a framework of hermeneutics: concert-goers no longer perceived composers as orators but as oracles to be deciphered. In the wake of World War I, however, the aesthetics of "New Objectivity" marked a return not only to certain stylistic features of eighteenth-century music but to the earlier concept of expression itself. Objectivity would go on to become the cornerstone of the high modernist aesthetic that dominated the century''s middle decades. Masterfully citing a broad array of source material from composers, critics, theorists, and philosophers, Mark Evan Bonds''s engaging study reveals how perceptions of subjective expression have endured, leading to the present era of mixed and often conflicting paradigms of listening.

The "Beethoven Syndrome" is the inclination of listeners to hear music as the projection of a composer''s inner self. This was a radically new way of listening that emerged only after Beethoven''s death. Beethoven''s music was a catalyst for this change, but only in retrospect, for it was not until after his death that listeners began to hear composers in general--and not just Beethoven--in their works, particularly in their instrumental music.The Beethoven Syndrome: Hearing Music as Autobiography traces the rise, fall, and persistence of this mode of listening from the middle of the eighteenth century to the present. Prior to 1830, composers and audiences alike operated within a framework of rhetoric in which the burden of intelligibility lay squarely on the composer, whose task it was to move listeners in a calculated way. But through a confluence of musical, philosophical, social, and economic changes, the paradigm of expressive objectivity gave way to one of subjectivity in the years around 1830. The framework of rhetoric thus yielded to a framework of hermeneutics: concert-goers no longer perceived composers as orators but as oracles to be deciphered. In the wake of World War I, however, the aesthetics of "New Objectivity" marked a return not only to certain stylistic features of eighteenth-century music but to the earlier concept of expression itself. Objectivity would go on to become the cornerstone of the high modernist aesthetic that dominated the century''s middle decades. Masterfully citing a broad array of source material from composers, critics, theorists, and philosophers, Mark Evan Bonds''s engaging study reveals how perceptions of subjective expression have endured, leading to the present era of mixed and often conflicting paradigms of listening.

What is music, and why does it move us? From Pythagoras to the present, writers have struggled to isolate the essence of "pure" or "absolute" music in ways that also account for its profound effect. In Absolute Music: The History of an Idea, Mark Evan Bonds traces the history of these efforts across more than two millennia, paying special attention to the relationship between music's essence and its qualities of form, expression, beauty, autonomy, as well as its perceived capacity to disclose philosophical truths.The core of this book focuses on the period between 1850 and 1945. Although the idea of pure music is as old as antiquity, the term "absolute music" is itself relatively recent. It was Richard Wagner who coined the term, in 1846, and he used it as a pejorative in his efforts to expose the limitations of purely instrumental music. For Wagner, music that was "absolute" was isolated, detached from the world, sterile. His contemporary, the Viennese critic Eduard Hanslick, embraced this quality of isolation as a guarantor of purity. Only pure, absolute music, he argued, could realize the highest potential of the art. Bonds reveals how and why perceptions of absolute music changed so radically between the 1850s and 1920s. When it first appeared, "absolute music" was a new term applied to old music, but by the early decades of the twentieth century, it had become-paradoxically--an old term associated with the new music of modernists like Schoenberg and Stravinsky. Bonds argues that the key developments in this shift lay not in discourse about music but rather the visual arts. The growing prestige of abstraction and form in painting at the turn of the twentieth century-line and color, as opposed to object-helped move the idea of purely abstract, absolute music to the cutting edge of musical modernism. By carefully tracing the evolution of absolute music from Ancient Greece through the Middle Ages to the twentieth-century, Bonds not only provides the first comprehensive history of this pivotal concept but also provokes new thoughts on the essence of music and how essence has been used to explain music's effect. A long awaited book from one of the most respected senior scholars in the field, Absolute Music will be essential reading for anyone interested in the history, theory, and aesthetics of music.

We've all heard some version of the line: "I enjoy classical music but don't know anything about it." Why but? Why and when did listeners begin to accept the idea that knowledge was needed to enjoy this particular repertory? Music's Fourth Wall and the Rise of Reflective Listening traces fundamental changes in the way listeners perceived instrumental music in European concert halls over the course of the late eighteenth and early nineteenth centuries. Like the theater, the concert hall has its own fourth wall, an imagined barrier that allows audiences to forget that what they are experiencing is a carefully crafted artifice, which in turn allows them to lose themselves in the music and resonate with it in a way that is immediate and direct. But when composers like Joseph Haydn began to violate music's fourth wall--most spectacularly in the finale of the "Joke" String Quartet (1782), with its repeated false endings--lay listeners were compelled to listen reflectively. They could not lose themselves in what they were hearing when it kept reminding them that they were listening to a work of music.Author Mark Evan Bonds uses the concepts of resonant and reflective listening as coordinates for tracing this important change in the history of concert-hall listening. By 1850, reflective listening--once limited largely to professional musicians and connoisseurs--had become the aspirational norm for lay listeners. Contemporary developments in the philosophy of art accelerated the growing status of instrumental music by promoting a mode of perception that went beyond the merely sensory to incorporate the intellectual as well: Beethoven famously thought of himself as a "tone poet," someone who not only moved listeners but also challenged them to think and reflect.Lay audiences thus gradually accepted the idea of listening as a skill that could be learned and cultivated. Bonds shows how music appreciation texts, composer biographies, program notes, and pre-concert lectures, all new during this period, helped reinforce a growing distinction between classical and popular repertories. For better or worse, the ideal of reflective listening has prevailed ever since.

We've all heard some version of the line: "e;I enjoy classical music but don't know anything about it."e; Why but? Why and when did listeners begin to accept the idea that knowledge was needed to enjoy this particular repertory? Music's Fourth Wall and the Rise of Reflective Listening traces fundamental changes in the way listeners perceived instrumental music in European concert halls over the course of the late eighteenth and early nineteenth centuries. Like the theater, the concert hall has its own fourth wall, an imagined barrier that allows audiences to forget that what they are experiencing is a carefully crafted artifice, which in turn allows them to lose themselves in the music and resonate with it in a way that is immediate and direct. But when composers like Joseph Haydn began to violate music's fourth wall--most spectacularly in the finale of the "e;Joke"e; String Quartet (1782), with its repeated false endings--lay listeners were compelled to listen reflectively. They could not lose themselves in what they were hearing when it kept reminding them that they were listening to a work of music. Author Mark Evan Bonds uses the concepts of resonant and reflective listening as coordinates for tracing this important change in the history of concert-hall listening. By 1850, reflective listening--once limited largely to professional musicians and connoisseurs--had become the aspirational norm for lay listeners. Contemporary developments in the philosophy of art accelerated the growing status of instrumental music by promoting a mode of perception that went beyond the merely sensory to incorporate the intellectual as well: Beethoven famously thought of himself as a "e;tone poet,"e; someone who not only moved listeners but also challenged them to think and reflect. Lay audiences thus gradually accepted the idea of listening as a skill that could be learned and cultivated. Bonds shows how music appreciation texts, composer biographies, program notes, and pre-concert lectures, all new during this period, helped reinforce a growing distinction between classical and popular repertories. For better or worse, the ideal of reflective listening has prevailed ever since.

We've all heard some version of the line: "e;I enjoy classical music but don't know anything about it."e; Why but? Why and when did listeners begin to accept the idea that knowledge was needed to enjoy this particular repertory? Music's Fourth Wall and the Rise of Reflective Listening traces fundamental changes in the way listeners perceived instrumental music in European concert halls over the course of the late eighteenth and early nineteenth centuries. Like the theater, the concert hall has its own fourth wall, an imagined barrier that allows audiences to forget that what they are experiencing is a carefully crafted artifice, which in turn allows them to lose themselves in the music and resonate with it in a way that is immediate and direct. But when composers like Joseph Haydn began to violate music's fourth wall--most spectacularly in the finale of the "e;Joke"e; String Quartet (1782), with its repeated false endings--lay listeners were compelled to listen reflectively. They could not lose themselves in what they were hearing when it kept reminding them that they were listening to a work of music. Author Mark Evan Bonds uses the concepts of resonant and reflective listening as coordinates for tracing this important change in the history of concert-hall listening. By 1850, reflective listening--once limited largely to professional musicians and connoisseurs--had become the aspirational norm for lay listeners. Contemporary developments in the philosophy of art accelerated the growing status of instrumental music by promoting a mode of perception that went beyond the merely sensory to incorporate the intellectual as well: Beethoven famously thought of himself as a "e;tone poet,"e; someone who not only moved listeners but also challenged them to think and reflect. Lay audiences thus gradually accepted the idea of listening as a skill that could be learned and cultivated. Bonds shows how music appreciation texts, composer biographies, program notes, and pre-concert lectures, all new during this period, helped reinforce a growing distinction between classical and popular repertories. For better or worse, the ideal of reflective listening has prevailed ever since.

What is music, and why does it move us? From Pythagoras to the present, writers have struggled to isolate the essence of "pure" or "absolute" music in ways that also account for its profound effect. In Absolute Music: The History of an Idea, Mark Evan Bonds traces the history of these efforts across more than two millennia, paying special attention to the relationship between music's essence and its qualities of form, expression, beauty, autonomy, as well as its perceived capacity to disclose philosophical truths.The core of this book focuses on the period between 1850 and 1945. Although the idea of pure music is as old as antiquity, the term "absolute music" is itself relatively recent. It was Richard Wagner who coined the term, in 1846, and he used it as a pejorative in his efforts to expose the limitations of purely instrumental music. For Wagner, music that was "absolute" was isolated, detached from the world, sterile. His contemporary, the Viennese critic Eduard Hanslick, embraced this quality of isolation as a guarantor of purity. Only pure, absolute music, he argued, could realize the highest potential of the art. Bonds reveals how and why perceptions of absolute music changed so radically between the 1850s and 1920s. When it first appeared, "absolute music" was a new term applied to old music, but by the early decades of the twentieth century, it had become-paradoxically--an old term associated with the new music of modernists like Schoenberg and Stravinsky. Bonds argues that the key developments in this shift lay not in discourse about music but rather the visual arts. The growing prestige of abstraction and form in painting at the turn of the twentieth century-line and color, as opposed to object-helped move the idea of purely abstract, absolute music to the cutting edge of musical modernism. By carefully tracing the evolution of absolute music from Ancient Greece through the Middle Ages to the twentieth-century, Bonds not only provides the first comprehensive history of this pivotal concept but also provokes new thoughts on the essence of music and how essence has been used to explain music's effect. A long awaited book from one of the most respected senior scholars in the field, Absolute Music will be essential reading for anyone interested in the history, theory, and aesthetics of music.

What is music, and why does it move us? From Pythagoras to the present, writers have struggled to isolate the essence of "pure" or "absolute" music in ways that also account for its profound effect. In Absolute Music: The History of an Idea, Mark Evan Bonds traces the history of these efforts across more than two millennia, paying special attention to the relationship between music''s essence and its qualities of form, expression, beauty, autonomy, as well as its perceived capacity to disclose philosophical truths.The core of this book focuses on the period between 1850 and 1945. Although the idea of pure music is as old as antiquity, the term "absolute music" is itself relatively recent. It was Richard Wagner who coined the term, in 1846, and he used it as a pejorative in his efforts to expose the limitations of purely instrumental music. For Wagner, music that was "absolute" was isolated, detached from the world, sterile. His contemporary, the Viennese critic Eduard Hanslick, embraced this quality of isolation as a guarantor of purity. Only pure, absolute music, he argued, could realize the highest potential of the art.Bonds reveals how and why perceptions of absolute music changed so radically between the 1850s and 1920s. When it first appeared, "absolute music" was a new term applied to old music, but by the early decades of the twentieth century, it had become-paradoxically--an old term associated with the new music of modernists like Schoenberg and Stravinsky. Bonds argues that the key developments in this shift lay not in discourse about music but rather the visual arts. The growing prestige of abstraction and form in painting at the turn of the twentieth century-line and color, as opposed to object-helped move the idea of purely abstract, absolute music to the cutting edge of musical modernism.By carefully tracing the evolution of absolute music from Ancient Greece through the Middle Ages to the twentieth-century, Bonds not only provides the first comprehensive history of this pivotal concept but also provokes new thoughts on the essence of music and how essence has been used to explain music''s effect. A long awaited book from one of the most respected senior scholars in the field, Absolute Music will be essential reading for anyone interested in the history, theory, and aesthetics of music.

What is music, and why does it move us? From Pythagoras to the present, writers have struggled to isolate the essence of "pure" or "absolute" music in ways that also account for its profound effect. In Absolute Music: The History of an Idea, Mark Evan Bonds traces the history of these efforts across more than two millennia, paying special attention to the relationship between music''s essence and its qualities of form, expression, beauty, autonomy, as well as its perceived capacity to disclose philosophical truths.The core of this book focuses on the period between 1850 and 1945. Although the idea of pure music is as old as antiquity, the term "absolute music" is itself relatively recent. It was Richard Wagner who coined the term, in 1846, and he used it as a pejorative in his efforts to expose the limitations of purely instrumental music. For Wagner, music that was "absolute" was isolated, detached from the world, sterile. His contemporary, the Viennese critic Eduard Hanslick, embraced this quality of isolation as a guarantor of purity. Only pure, absolute music, he argued, could realize the highest potential of the art.Bonds reveals how and why perceptions of absolute music changed so radically between the 1850s and 1920s. When it first appeared, "absolute music" was a new term applied to old music, but by the early decades of the twentieth century, it had become-paradoxically--an old term associated with the new music of modernists like Schoenberg and Stravinsky. Bonds argues that the key developments in this shift lay not in discourse about music but rather the visual arts. The growing prestige of abstraction and form in painting at the turn of the twentieth century-line and color, as opposed to object-helped move the idea of purely abstract, absolute music to the cutting edge of musical modernism.By carefully tracing the evolution of absolute music from Ancient Greece through the Middle Ages to the twentieth-century, Bonds not only provides the first comprehensive history of this pivotal concept but also provokes new thoughts on the essence of music and how essence has been used to explain music''s effect. A long awaited book from one of the most respected senior scholars in the field, Absolute Music will be essential reading for anyone interested in the history, theory, and aesthetics of music.

Before the nineteenth century, instrumental music was considered inferior to vocal music. Kant described wordless music as "more pleasure than culture," and Rousseau dismissed it for its inability to convey concepts. But by the early 1800s, a dramatic shift was under way. Purely instrumental music was now being hailed as a means to knowledge and embraced precisely because of its independence from the limits of language. What had once been perceived as entertainment was heard increasingly as a vehicle of thought. Listening had become a way of knowing. Music as Thought traces the roots of this fundamental shift in attitudes toward listening in the late eighteenth and early nineteenth centuries. Focusing on responses to the symphony in the age of Beethoven, Mark Evan Bonds draws on contemporary accounts and a range of sources--philosophical, literary, political, and musical--to reveal how this music was experienced by those who heard it first. Music as Thought is a fascinating reinterpretation of the causes and effects of a revolution in listening.

Книга «Синдром Бетховена. Музыка как автобиография» анализирует, казалось бы, привычный подход к пониманию музыкальных произведений: слушатель воспринимает их как отражение внутреннего мира композитора. Этот тип восприятия музыки сформировался уже после смерти Бетховена: именно после его ухода слушатели начали видеть в творчестве композиторов, особенно в инструментальных произведениях, нечто глубоко личное и эмоциональное. В книге прослеживается история возникновения и развития этого особого вида музыкального сотворчества — от середины XVIII века до наших дней.

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