Much English music from the 1890s through the 1950s stands out for its intensive diatonicism: a studied avoidance of chromaticism and an elaboration of the expressive possibilities of purely diatonic writing. This music attempted to convey metaphysical thoughts, elevated feelings, eternity, and at times mysticism and ecstasy. English Diatonic Music 1887-1955 explores this unique stylistic movement, drawing on recent approaches in music theory and analysis and illustrating the argument with key representative musical examples. Through this analysis, author Matthew Riley offers a new perspective on the repertory.This book advances a new conception and undertakes an historical remapping of early twentieth-century English music. Incorporating both music theory and music history, Riley evaluates the importance of syntactic and stylistic conventions in this era, in particular topic and schema. His position is anti-idealist in an analytical sense and anti-modernist in an intellectual sense, elevating the importance of convention and positioning composition as a craft above all. The book develops an alternative perspective to those in the existing broad surveys of the repertory and treats English diatonic music as primarily a post-Victorian modernity with remarkable consistency of vocabulary across the decades. It was the outcome of a coherent late-Victorian musical reform movement that worked against perceived sentimentality. Intensive diatonicism can be heard in many canonical compositions that are frequently performed and recorded, but its scope is much wider too, encompassing orchestral and choral-orchestral works, chamber music, solo song, music for the Anglican liturgy, opera, and commissions for coronations, festivals, and BBC projects. Many of the book's wider arguments and approaches are concerned with clearing out the misconceptions arising from over-emphasis on folksong and the Tudor revival and the confusion of diatonicism and pastoralism.

Much English music from the 1890s through the 1950s stands out for its intensive diatonicism: a studied avoidance of chromaticism and an elaboration of the expressive possibilities of purely diatonic writing. This music attempted to convey metaphysical thoughts, elevated feelings, eternity, and at times mysticism and ecstasy. English Diatonic Music 1887-1955 explores this unique stylistic movement, drawing on recent approaches in music theory and analysis and illustrating the argument with key representative musical examples. Through this analysis, author Matthew Riley offers a new perspective on the repertory. This book advances a new conception and undertakes an historical remapping of early twentieth-century English music. Incorporating both music theory and music history, Riley evaluates the importance of syntactic and stylistic conventions in this era, in particular topic and schema. His position is anti-idealist in an analytical sense and anti-modernist in an intellectual sense, elevating the importance of convention and positioning composition as a craft above all. The book develops an alternative perspective to those in the existing broad surveys of the repertory and treats English diatonic music as primarily a post-Victorian modernity with remarkable consistency of vocabulary across the decades. It was the outcome of a coherent late-Victorian musical reform movement that worked against perceived sentimentality. Intensive diatonicism can be heard in many canonical compositions that are frequently performed and recorded, but its scope is much wider too, encompassing orchestral and choral-orchestral works, chamber music, solo song, music for the Anglican liturgy, opera, and commissions for coronations, festivals, and BBC projects. Many of the book's wider arguments and approaches are concerned with clearing out the misconceptions arising from over-emphasis on folksong and the Tudor revival and the confusion of diatonicism and pastoralism.

Much English music from the 1890s through the 1950s stands out for its intensive diatonicism: a studied avoidance of chromaticism and an elaboration of the expressive possibilities of purely diatonic writing. This music attempted to convey metaphysical thoughts, elevated feelings, eternity, and at times mysticism and ecstasy. English Diatonic Music 1887-1955 explores this unique stylistic movement, drawing on recent approaches in music theory and analysis and illustrating the argument with key representative musical examples. Through this analysis, author Matthew Riley offers a new perspective on the repertory. This book advances a new conception and undertakes an historical remapping of early twentieth-century English music. Incorporating both music theory and music history, Riley evaluates the importance of syntactic and stylistic conventions in this era, in particular topic and schema. His position is anti-idealist in an analytical sense and anti-modernist in an intellectual sense, elevating the importance of convention and positioning composition as a craft above all. The book develops an alternative perspective to those in the existing broad surveys of the repertory and treats English diatonic music as primarily a post-Victorian modernity with remarkable consistency of vocabulary across the decades. It was the outcome of a coherent late-Victorian musical reform movement that worked against perceived sentimentality. Intensive diatonicism can be heard in many canonical compositions that are frequently performed and recorded, but its scope is much wider too, encompassing orchestral and choral-orchestral works, chamber music, solo song, music for the Anglican liturgy, opera, and commissions for coronations, festivals, and BBC projects. Many of the book's wider arguments and approaches are concerned with clearing out the misconceptions arising from over-emphasis on folksong and the Tudor revival and the confusion of diatonicism and pastoralism.

In late eighteenth-century Vienna and the surrounding Habsburg territories, over 50 minor-key symphonies by at least 11 composers were written. These include some of the best-known works of the symphonic repertoire, such as Haydn's 'Farewell' Symphony and Mozart's Symphony No. 40 in G minor, K. 550. The driving energy, intense pathos and restlessness of these compositions demand close attention and participation from the listener, and pose urgent questions about meaning and interpretation.In response to these questions, The Viennese Minor-Key Symphony in the Age of Haydn and Mozart combines historical perspectives with recent developments in music analysis to shed new light on this distinctive part of the repertoire. Through an intertextual, analytical approach, author Matthew Riley treats the minor-key symphony as a subgenre of several strands, reconstructing the compositional world it occupied. His work enables signals to be understood, puts characteristic strategies in clear relief, and ultimately reveals the significance this music held for both composers and listeners of the time. Riley gives us a fresh picture of the familiar masterpieces of Haydn and Mozart, while also focusing on lesser known composers.

In late eighteenth-century Vienna and the surrounding Habsburg territories, over 50 minor-key symphonies by at least 11 composers were written. These include some of the best-known works of the symphonic repertoire, such as Haydn''s ''Farewell'' Symphony and Mozart''s Symphony No. 40 in G minor, K. 550. The driving energy, intense pathos and restlessness of these compositions demand close attention and participation from the listener, and pose urgent questions about meaning and interpretation.In response to these questions, The Viennese Minor-Key Symphony in the Age of Haydn and Mozart combines historical perspectives with recent developments in music analysis to shed new light on this distinctive part of the repertoire. Through an intertextual, analytical approach, author Matthew Riley treats the minor-key symphony as a subgenre of several strands, reconstructing the compositional world it occupied. His work enables signals to be understood, puts characteristic strategies in clear relief, and ultimately reveals the significance this music held for both composers and listeners of the time. Riley gives us a fresh picture of the familiar masterpieces of Haydn and Mozart, while also focusing on lesser known composers.

During his lifetime, and in the course of the twentieth century, Edward Elgar and his music became sites for a remarkable variety of nostalgic impulses. These are manifested in his personal life, in the content of his works, in his critical and biographical reception, and in numerous artistic ventures based on his character and music. Today Elgar enjoys renewed popularity in Britain, and nostalgia of various forms continues to shape our responses to his music. From one viewpoint, Elgarian nostalgia might be dismissed as escapist, regressive and reactionary, and the revival in Elgar's fortunes regarded as the symptom of a pernicious 'heritage industry' in post-colonial, post-industrial Britain. While there is undeniably a grain of truth to that view, Matthew Riley's careful treatment of the topic reveals a more complex picture of nostalgia, and sheds light on Elgar and his cultural significance in the twentieth and twenty-first centuries.

During his lifetime, and in the course of the twentieth century, Edward Elgar and his music became sites for a remarkable variety of nostalgic impulses. These are manifested in his personal life, in the content of his works, in his critical and biographical reception, and in numerous artistic ventures based on his character and music. Today Elgar enjoys renewed popularity in Britain, and nostalgia of various forms continues to shape our responses to his music. From one viewpoint, Elgarian nostalgia might be dismissed as escapist, regressive and reactionary, and the revival in Elgar's fortunes regarded as the symptom of a pernicious 'heritage industry' in post-colonial, post-industrial Britain. While there is undeniably a grain of truth to that view, Matthew Riley's careful treatment of the topic reveals a more complex picture of nostalgia, and sheds light on Elgar and his cultural significance in the twentieth and twenty-first centuries.

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.

Imaginative analytical and critical work on British music of the early twentieth century has been hindered by perceptions of the repertory as insular in its references and backward in its style and syntax, escaping the modernity that surrounded its composers. Recent research has begun to break down these perceptions and has found intriguing links between British music and modernism. This book brings together contributions from scholars working in analysis, hermeneutics, reception history, critical theory and the history of ideas. Three overall themes emerge from its chapters: accounts of British reactions to Continental modernism and the forms they took; links between music and the visual arts; and analysis and interpretation of compositions in the light of recent theoretical work on form, tonality and pitch organization.

Imaginative analytical and critical work on British music of the early twentieth century has been hindered by perceptions of the repertory as insular in its references and backward in its style and syntax, escaping the modernity that surrounded its composers. Recent research has begun to break down these perceptions and has found intriguing links between British music and modernism. This book brings together contributions from scholars working in analysis, hermeneutics, reception history, critical theory and the history of ideas. Three overall themes emerge from its chapters: accounts of British reactions to Continental modernism and the forms they took; links between music and the visual arts; and analysis and interpretation of compositions in the light of recent theoretical work on form, tonality and pitch organization.

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.

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.

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.

Imaginative analytical and critical work on British music of the early twentieth century has been hindered by perceptions of the repertory as insular in its references and backward in its style and syntax, escaping the modernity that surrounded its composers. Recent research has begun to break down these perceptions and has found intriguing links between British music and modernism. This book brings together contributions from scholars working in analysis, hermeneutics, reception history, critical theory and the history of ideas. Three overall themes emerge from its chapters: accounts of British reactions to Continental modernism and the forms they took; links between music and the visual arts; and analysis and interpretation of compositions in the light of recent theoretical work on form, tonality and pitch organization.

Imaginative analytical and critical work on British music of the early twentieth century has been hindered by perceptions of the repertory as insular in its references and backward in its style and syntax, escaping the modernity that surrounded its composers. Recent research has begun to break down these perceptions and has found intriguing links between British music and modernism. This book brings together contributions from scholars working in analysis, hermeneutics, reception history, critical theory and the history of ideas. Three overall themes emerge from its chapters: accounts of British reactions to Continental modernism and the forms they took; links between music and the visual arts; and analysis and interpretation of compositions in the light of recent theoretical work on form, tonality and pitch organization.

How and why do listeners come over time to 'feel the nation' through particular musical works?Sunday Times Best Reads of 2016This book develops a comparative analysis of the relationship between western art music, nations and nationalism. It explores the influence of emergent nations and nationalism on the development of classical music in Europe and North America and examines the distinctive themes, sounds and resonances to be found in the repertory of each of the nations. Its scope is broad, extending well beyond the period 1848-1914 when national music flourished most conspicuously. The interplay of music and nation encompasses the oratorios of Handel, the open-air music of the French Revolution and the orchestral works of Beethoven and Mendelssohn and extends into the mid-twentieth century in the music of Prokofiev, Shostakovich and Copland. The book addresses the representation of the national community, the incorporation of ethnic vernacular idioms into art music, the national homeland in music, musical adaptations of national myths and legends, the music of national commemoration and the canonisation of national music. Bringing together insights from nationalism studies, musicology and cultural history, it will be essential reading not only for musicologists but for cultural historians and historians of nationalism as well.MATTHEW RILEY is Reader in Music at the University of Birmingham.The late ANTHONY D. SMITH was Professor Emeritus of Nationalism andEthnicity at the London School of Economics.

Much English music from the 1890s through the 1950s stands out for its intensive diatonicism: a studied avoidance of chromaticism and an elaboration of the expressive possibilities of purely diatonic writing. This music attempted to convey metaphysical thoughts, elevated feelings, eternity, and at times mysticism and ecstasy. English Diatonic Music 1887-1955 explores this unique stylistic movement, drawing on recent approaches in music theory and analysis and illustrating the argument with key representative musical examples. Through this analysis, author Matthew Riley offers a new perspective on the repertory.This book advances a new conception and undertakes an historical remapping of early twentieth-century English music. Incorporating both music theory and music history, Riley evaluates the importance of syntactic and stylistic conventions in this era, in particular topic and schema. His position is anti-idealist in an analytical sense and anti-modernist in an intellectual sense, elevating the importance of convention and positioning composition as a craft above all. The book develops an alternative perspective to those in the existing broad surveys of the repertory and treats English diatonic music as primarily a post-Victorian modernity with remarkable consistency of vocabulary across the decades. It was the outcome of a coherent late-Victorian musical reform movement that worked against perceived sentimentality. Intensive diatonicism can be heard in many canonical compositions that are frequently performed and recorded, but its scope is much wider too, encompassing orchestral and choral-orchestral works, chamber music, solo song, music for the Anglican liturgy, opera, and commissions for coronations, festivals, and BBC projects. Many of the book's wider arguments and approaches are concerned with clearing out the misconceptions arising from over-emphasis on folksong and the Tudor revival and the confusion of diatonicism and pastoralism.

Much English music from the 1890s through the 1950s stands out for its intensive diatonicism: a studied avoidance of chromaticism and an elaboration of the expressive possibilities of purely diatonic writing. This music attempted to convey metaphysical thoughts, elevated feelings, eternity, and at times mysticism and ecstasy. English Diatonic Music 1887-1955 explores this unique stylistic movement, drawing on recent approaches in music theory and analysis and illustrating the argument with key representative musical examples. Through this analysis, author Matthew Riley offers a new perspective on the repertory. This book advances a new conception and undertakes an historical remapping of early twentieth-century English music. Incorporating both music theory and music history, Riley evaluates the importance of syntactic and stylistic conventions in this era, in particular topic and schema. His position is anti-idealist in an analytical sense and anti-modernist in an intellectual sense, elevating the importance of convention and positioning composition as a craft above all. The book develops an alternative perspective to those in the existing broad surveys of the repertory and treats English diatonic music as primarily a post-Victorian modernity with remarkable consistency of vocabulary across the decades. It was the outcome of a coherent late-Victorian musical reform movement that worked against perceived sentimentality. Intensive diatonicism can be heard in many canonical compositions that are frequently performed and recorded, but its scope is much wider too, encompassing orchestral and choral-orchestral works, chamber music, solo song, music for the Anglican liturgy, opera, and commissions for coronations, festivals, and BBC projects. Many of the book's wider arguments and approaches are concerned with clearing out the misconceptions arising from over-emphasis on folksong and the Tudor revival and the confusion of diatonicism and pastoralism.

Much English music from the 1890s through the 1950s stands out for its intensive diatonicism: a studied avoidance of chromaticism and an elaboration of the expressive possibilities of purely diatonic writing. This music attempted to convey metaphysical thoughts, elevated feelings, eternity, and at times mysticism and ecstasy. English Diatonic Music 1887-1955 explores this unique stylistic movement, drawing on recent approaches in music theory and analysis and illustrating the argument with key representative musical examples. Through this analysis, author Matthew Riley offers a new perspective on the repertory. This book advances a new conception and undertakes an historical remapping of early twentieth-century English music. Incorporating both music theory and music history, Riley evaluates the importance of syntactic and stylistic conventions in this era, in particular topic and schema. His position is anti-idealist in an analytical sense and anti-modernist in an intellectual sense, elevating the importance of convention and positioning composition as a craft above all. The book develops an alternative perspective to those in the existing broad surveys of the repertory and treats English diatonic music as primarily a post-Victorian modernity with remarkable consistency of vocabulary across the decades. It was the outcome of a coherent late-Victorian musical reform movement that worked against perceived sentimentality. Intensive diatonicism can be heard in many canonical compositions that are frequently performed and recorded, but its scope is much wider too, encompassing orchestral and choral-orchestral works, chamber music, solo song, music for the Anglican liturgy, opera, and commissions for coronations, festivals, and BBC projects. Many of the book's wider arguments and approaches are concerned with clearing out the misconceptions arising from over-emphasis on folksong and the Tudor revival and the confusion of diatonicism and pastoralism.

In late eighteenth-century Vienna and the surrounding Habsburg territories, over 50 minor-key symphonies by at least 11 composers were written. These include some of the best-known works of the symphonic repertoire, such as Haydn's 'Farewell' Symphony and Mozart's Symphony No. 40 in G minor, K. 550. The driving energy, intense pathos and restlessness of these compositions demand close attention and participation from the listener, and pose urgent questions about meaning and interpretation.In response to these questions, The Viennese Minor-Key Symphony in the Age of Haydn and Mozart combines historical perspectives with recent developments in music analysis to shed new light on this distinctive part of the repertoire. Through an intertextual, analytical approach, author Matthew Riley treats the minor-key symphony as a subgenre of several strands, reconstructing the compositional world it occupied. His work enables signals to be understood, puts characteristic strategies in clear relief, and ultimately reveals the significance this music held for both composers and listeners of the time. Riley gives us a fresh picture of the familiar masterpieces of Haydn and Mozart, while also focusing on lesser known composers.

In late eighteenth-century Vienna and the surrounding Habsburg territories, over 50 minor-key symphonies by at least 11 composers were written. These include some of the best-known works of the symphonic repertoire, such as Haydn''s ''Farewell'' Symphony and Mozart''s Symphony No. 40 in G minor, K. 550. The driving energy, intense pathos and restlessness of these compositions demand close attention and participation from the listener, and pose urgent questions about meaning and interpretation.In response to these questions, The Viennese Minor-Key Symphony in the Age of Haydn and Mozart combines historical perspectives with recent developments in music analysis to shed new light on this distinctive part of the repertoire. Through an intertextual, analytical approach, author Matthew Riley treats the minor-key symphony as a subgenre of several strands, reconstructing the compositional world it occupied. His work enables signals to be understood, puts characteristic strategies in clear relief, and ultimately reveals the significance this music held for both composers and listeners of the time. Riley gives us a fresh picture of the familiar masterpieces of Haydn and Mozart, while also focusing on lesser known composers.

During his lifetime, and in the course of the twentieth century, Edward Elgar and his music became sites for a remarkable variety of nostalgic impulses. These are manifested in his personal life, in the content of his works, in his critical and biographical reception, and in numerous artistic ventures based on his character and music. Today Elgar enjoys renewed popularity in Britain, and nostalgia of various forms continues to shape our responses to his music. From one viewpoint, Elgarian nostalgia might be dismissed as escapist, regressive and reactionary, and the revival in Elgar's fortunes regarded as the symptom of a pernicious 'heritage industry' in post-colonial, post-industrial Britain. While there is undeniably a grain of truth to that view, Matthew Riley's careful treatment of the topic reveals a more complex picture of nostalgia, and sheds light on Elgar and his cultural significance in the twentieth and twenty-first centuries.

During his lifetime, and in the course of the twentieth century, Edward Elgar and his music became sites for a remarkable variety of nostalgic impulses. These are manifested in his personal life, in the content of his works, in his critical and biographical reception, and in numerous artistic ventures based on his character and music. Today Elgar enjoys renewed popularity in Britain, and nostalgia of various forms continues to shape our responses to his music. From one viewpoint, Elgarian nostalgia might be dismissed as escapist, regressive and reactionary, and the revival in Elgar's fortunes regarded as the symptom of a pernicious 'heritage industry' in post-colonial, post-industrial Britain. While there is undeniably a grain of truth to that view, Matthew Riley's careful treatment of the topic reveals a more complex picture of nostalgia, and sheds light on Elgar and his cultural significance in the twentieth and twenty-first centuries.

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.

Imaginative analytical and critical work on British music of the early twentieth century has been hindered by perceptions of the repertory as insular in its references and backward in its style and syntax, escaping the modernity that surrounded its composers. Recent research has begun to break down these perceptions and has found intriguing links between British music and modernism. This book brings together contributions from scholars working in analysis, hermeneutics, reception history, critical theory and the history of ideas. Three overall themes emerge from its chapters: accounts of British reactions to Continental modernism and the forms they took; links between music and the visual arts; and analysis and interpretation of compositions in the light of recent theoretical work on form, tonality and pitch organization.

Imaginative analytical and critical work on British music of the early twentieth century has been hindered by perceptions of the repertory as insular in its references and backward in its style and syntax, escaping the modernity that surrounded its composers. Recent research has begun to break down these perceptions and has found intriguing links between British music and modernism. This book brings together contributions from scholars working in analysis, hermeneutics, reception history, critical theory and the history of ideas. Three overall themes emerge from its chapters: accounts of British reactions to Continental modernism and the forms they took; links between music and the visual arts; and analysis and interpretation of compositions in the light of recent theoretical work on form, tonality and pitch organization.

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.

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.

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.

Imaginative analytical and critical work on British music of the early twentieth century has been hindered by perceptions of the repertory as insular in its references and backward in its style and syntax, escaping the modernity that surrounded its composers. Recent research has begun to break down these perceptions and has found intriguing links between British music and modernism. This book brings together contributions from scholars working in analysis, hermeneutics, reception history, critical theory and the history of ideas. Three overall themes emerge from its chapters: accounts of British reactions to Continental modernism and the forms they took; links between music and the visual arts; and analysis and interpretation of compositions in the light of recent theoretical work on form, tonality and pitch organization.

Imaginative analytical and critical work on British music of the early twentieth century has been hindered by perceptions of the repertory as insular in its references and backward in its style and syntax, escaping the modernity that surrounded its composers. Recent research has begun to break down these perceptions and has found intriguing links between British music and modernism. This book brings together contributions from scholars working in analysis, hermeneutics, reception history, critical theory and the history of ideas. Three overall themes emerge from its chapters: accounts of British reactions to Continental modernism and the forms they took; links between music and the visual arts; and analysis and interpretation of compositions in the light of recent theoretical work on form, tonality and pitch organization.

How and why do listeners come over time to 'feel the nation' through particular musical works?Sunday Times Best Reads of 2016This book develops a comparative analysis of the relationship between western art music, nations and nationalism. It explores the influence of emergent nations and nationalism on the development of classical music in Europe and North America and examines the distinctive themes, sounds and resonances to be found in the repertory of each of the nations. Its scope is broad, extending well beyond the period 1848-1914 when national music flourished most conspicuously. The interplay of music and nation encompasses the oratorios of Handel, the open-air music of the French Revolution and the orchestral works of Beethoven and Mendelssohn and extends into the mid-twentieth century in the music of Prokofiev, Shostakovich and Copland. The book addresses the representation of the national community, the incorporation of ethnic vernacular idioms into art music, the national homeland in music, musical adaptations of national myths and legends, the music of national commemoration and the canonisation of national music. Bringing together insights from nationalism studies, musicology and cultural history, it will be essential reading not only for musicologists but for cultural historians and historians of nationalism as well.MATTHEW RILEY is Reader in Music at the University of Birmingham.The late ANTHONY D. SMITH was Professor Emeritus of Nationalism andEthnicity at the London School of Economics.