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Narratives of 'incidental' music in ...

Paley, Elizabeth Sara.

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Narratives of 'incidental' music in German Romantic theater (Ludwig van Beethoven, Felix Mendelssohn-Bartholdy, Robert Schumann).

Record Type:	Electronic resources : Monograph/item
Title/Author:	Narratives of 'incidental' music in German Romantic theater (Ludwig van Beethoven, Felix Mendelssohn-Bartholdy, Robert Schumann)./
Author:	Paley, Elizabeth Sara.
Description:	313 p.
Notes:	Source: Dissertation Abstracts International, Volume: 59-11, Section: A, page: 4006.
Contained By:	Dissertation Abstracts International59-11A.
Subject:	Music. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9839381
ISBN:	0599108061

Narratives of 'incidental' music in German Romantic theater (Ludwig van Beethoven, Felix Mendelssohn-Bartholdy, Robert Schumann).
Paley, Elizabeth Sara.

Narratives of 'incidental' music in German Romantic theater (Ludwig van Beethoven, Felix Mendelssohn-Bartholdy, Robert Schumann). - 313 p.

Source: Dissertation Abstracts International, Volume: 59-11, Section: A, page: 4006.

Thesis (Ph.D.)--The University of Wisconsin - Madison, 1998.

Because incidental music by definition is not omnipresent within drama (in contrast to music in opera), moments when music intrudes into a play necessarily arouse attention. From purely instrumental overtures and entractes to songs and the accompanied declamation of melodrama, incidental music occasions diverse interactions between dramatic and musical narratives. When listeners combine music with verbal texts (programs, poems, plays, a composer's verbal reference to a composition, an analytical narrative such as "sonata form," etc.), they enable it to be read as narrating, as foreshadowing and recalling events of the text and providing musical commentary on it. More importantly, the synergistic whole, the music-plus-text, often points to compelling secret narratives hidden behind those suggested by the text or music alone. A set of Zwischenreden---incidental texts---published in 1821 to accompany concert performances of Beethoven's Egmont-Musik provides the touchstone for Chapter 1, which draws on Derrida's logic of the supplement to argue not only that music supplements narrative, but also that narrative supplements music. In Chapters 2--4, theories of narrative in music, literature, and film inform detailed analyses of Goethe's/Beethoven's Egmont, Shakespeare's/Mendelssohn's A Midsummer Night's Dream, and Byron's/Schumann's Manfred . These diverse musicodramatic works reflect a flourishing theoretical and practical interest in incidental music in Germany during the first half of the nineteenth century. The analyses reveal a mutual supplementarity between music and narrative, demonstrating that incidental music is rarely "incidental."

ISBN: 0599108061Subjects--Topical Terms:

516178
Music.

Narratives of 'incidental' music in German Romantic theater (Ludwig van Beethoven, Felix Mendelssohn-Bartholdy, Robert Schumann).
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245 1 0 $a Narratives of 'incidental' music in German Romantic theater (Ludwig van Beethoven, Felix Mendelssohn-Bartholdy, Robert Schumann).
300 $a 313 p.
500 $a Source: Dissertation Abstracts International, Volume: 59-11, Section: A, page: 4006.
500 $a Supervisor: Brian Hyer.
502 $a Thesis (Ph.D.)--The University of Wisconsin - Madison, 1998.
520 $a Because incidental music by definition is not omnipresent within drama (in contrast to music in opera), moments when music intrudes into a play necessarily arouse attention. From purely instrumental overtures and entractes to songs and the accompanied declamation of melodrama, incidental music occasions diverse interactions between dramatic and musical narratives. When listeners combine music with verbal texts (programs, poems, plays, a composer's verbal reference to a composition, an analytical narrative such as "sonata form," etc.), they enable it to be read as narrating, as foreshadowing and recalling events of the text and providing musical commentary on it. More importantly, the synergistic whole, the music-plus-text, often points to compelling secret narratives hidden behind those suggested by the text or music alone. A set of Zwischenreden---incidental texts---published in 1821 to accompany concert performances of Beethoven's Egmont-Musik provides the touchstone for Chapter 1, which draws on Derrida's logic of the supplement to argue not only that music supplements narrative, but also that narrative supplements music. In Chapters 2--4, theories of narrative in music, literature, and film inform detailed analyses of Goethe's/Beethoven's Egmont, Shakespeare's/Mendelssohn's A Midsummer Night's Dream, and Byron's/Schumann's Manfred . These diverse musicodramatic works reflect a flourishing theoretical and practical interest in incidental music in Germany during the first half of the nineteenth century. The analyses reveal a mutual supplementarity between music and narrative, demonstrating that incidental music is rarely "incidental."
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