東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

Historical background for a hermeneu...

Allen, Melinda Moody.

FindBook

Google Book

Amazon

博客來

Historical background for a hermeneutic interpretation of the Liszt B Minor Piano Sonata as the metaphysical embodiment of his spirit.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Historical background for a hermeneutic interpretation of the Liszt B Minor Piano Sonata as the metaphysical embodiment of his spirit./
作者:	Allen, Melinda Moody.
面頁冊數:	142 p.
附註:	Source: Dissertation Abstracts International, Volume: 58-07, Section: A, page: 2445.
Contained By:	Dissertation Abstracts International58-07A.
標題:	Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9803079
ISBN:	9780591531008

Historical background for a hermeneutic interpretation of the Liszt B Minor Piano Sonata as the metaphysical embodiment of his spirit.
Allen, Melinda Moody.

Historical background for a hermeneutic interpretation of the Liszt B Minor Piano Sonata as the metaphysical embodiment of his spirit. - 142 p.

Source: Dissertation Abstracts International, Volume: 58-07, Section: A, page: 2445.

Thesis (D.M.A.)--The University of Texas at Austin, 1997.

In order to comprehend and appreciate the life force of Liszt's B Minor Piano Sonata (1853), this treatise is based upon historical data, and juxtaposes a hermeneutic interpretation (the Verstehen of the interpreter's inward response to the Sonata) with the analytical Erklaren that provides an outward explication of its material content. One must comprehend the whole context in order to appreciate the Sonata's beauty, for as a poetic work of art, the Sonata embodies Liszt's feeling and thought into a sensual mold that preserves and communicates his original sense and content as composer and as "Man." Liszt's original sense and content have been interpreted to be Faustian/autobiographic (as he identified strongly with the Faust legend) and Biblical (as his Catholic faith was the foundation for his own identity as "Man"). Both analogies are true, for each interpretation is based upon the metaphysical battle of good vs. evil, and because Liszt's concepts of God and Satan/Mephisto were internalized parts of his own identity as "Man." Liszt internalizes the collective ontological experience of the "ego" vs. the "non-ego" within his own individual Romantic experience that comprises varying identities of the ego, wherein his self-realization as the lonely protagonist of "Man"--be he Faust, be he Liszt--determines the novel form of this Sonata. Respecting Lisztian priorities, that a Romantic person senses truth before he knows the truth, the presentation of this study emerges from the foundation of the Sonata's historiography which provides an understanding of the work's symbolic meaning before the technical analysis explicates the intervallic structural content of Liszt's multifunctional tonal language that directs this complex musical form. This heterogeneous tonal language has been described in terms of intertonality and ultramodality (Lajos Bardos), and as successive polymodality (Lajos Zeke). The scale-motive's identity is allowed free emotional metamorphosis during the formal process of "multifunctional variation." The scale-motive transforms within both the temporal scheme of thematic presentation and the spacial scheme of tonal structure (Lajos Zeke). In the Sonata, diatonicism functions together with intertonality and ultramodality within the process of successive polymodality (which equates chromatic alterations of a tone, as scale degrees are unfixed). Through metamorphosis, the opening scale transforms within these systems of intervallic organization to direct the architectonics of this harmonic drama. This author sees this Sonata as an organic amalgamation of many contrasting tonal elements that Liszt internalized in his synthetic unity of consciousness in order to poetically express his own metaphysical embodiment.

ISBN: 9780591531008Subjects--Topical Terms:

516178
Music.

Historical background for a hermeneutic interpretation of the Liszt B Minor Piano Sonata as the metaphysical embodiment of his spirit.
LDR:03828nmm 2200301 4500 001 1819647
005 20061101121621.5
008 130610s1997 eng d
020 $a 9780591531008
035 $a (UnM)AAI9803079
035 $a AAI9803079
040 $a UnM $c UnM
100 1 $a Allen, Melinda Moody. $3 1908918
245 1 0 $a Historical background for a hermeneutic interpretation of the Liszt B Minor Piano Sonata as the metaphysical embodiment of his spirit.
300 $a 142 p.
500 $a Source: Dissertation Abstracts International, Volume: 58-07, Section: A, page: 2445.
500 $a Supervisors: Elliott M. Antokoletz; Gregory D. Allen.
502 $a Thesis (D.M.A.)--The University of Texas at Austin, 1997.
520 $a In order to comprehend and appreciate the life force of Liszt's B Minor Piano Sonata (1853), this treatise is based upon historical data, and juxtaposes a hermeneutic interpretation (the Verstehen of the interpreter's inward response to the Sonata) with the analytical Erklaren that provides an outward explication of its material content. One must comprehend the whole context in order to appreciate the Sonata's beauty, for as a poetic work of art, the Sonata embodies Liszt's feeling and thought into a sensual mold that preserves and communicates his original sense and content as composer and as "Man." Liszt's original sense and content have been interpreted to be Faustian/autobiographic (as he identified strongly with the Faust legend) and Biblical (as his Catholic faith was the foundation for his own identity as "Man"). Both analogies are true, for each interpretation is based upon the metaphysical battle of good vs. evil, and because Liszt's concepts of God and Satan/Mephisto were internalized parts of his own identity as "Man." Liszt internalizes the collective ontological experience of the "ego" vs. the "non-ego" within his own individual Romantic experience that comprises varying identities of the ego, wherein his self-realization as the lonely protagonist of "Man"--be he Faust, be he Liszt--determines the novel form of this Sonata. Respecting Lisztian priorities, that a Romantic person senses truth before he knows the truth, the presentation of this study emerges from the foundation of the Sonata's historiography which provides an understanding of the work's symbolic meaning before the technical analysis explicates the intervallic structural content of Liszt's multifunctional tonal language that directs this complex musical form. This heterogeneous tonal language has been described in terms of intertonality and ultramodality (Lajos Bardos), and as successive polymodality (Lajos Zeke). The scale-motive's identity is allowed free emotional metamorphosis during the formal process of "multifunctional variation." The scale-motive transforms within both the temporal scheme of thematic presentation and the spacial scheme of tonal structure (Lajos Zeke). In the Sonata, diatonicism functions together with intertonality and ultramodality within the process of successive polymodality (which equates chromatic alterations of a tone, as scale degrees are unfixed). Through metamorphosis, the opening scale transforms within these systems of intervallic organization to direct the architectonics of this harmonic drama. This author sees this Sonata as an organic amalgamation of many contrasting tonal elements that Liszt internalized in his synthetic unity of consciousness in order to poetically express his own metaphysical embodiment.
590 $a School code: 0227.
650 4 $a Music. $3 516178
650 4 $a Philosophy. $3 516511
650 4 $a Biography. $3 531296
690 $a 0413
690 $a 0422
690 $a 0304
710 2 0 $a The University of Texas at Austin. $3 718984
773 0 $t Dissertation Abstracts International $g 58-07A.
790 1 0 $a Antokoletz, Elliott M., $e advisor
790 1 0 $a Allen, Gregory D., $e advisor
790 $a 0227
791 $a D.M.A.
792 $a 1997
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9803079