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The concept of depth in the German m...

Watkins, Holly Anita.

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The concept of depth in the German musical thought, 1800--1950.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The concept of depth in the German musical thought, 1800--1950./
作者:	Watkins, Holly Anita.
面頁冊數:	353 p.
附註:	Source: Dissertation Abstracts International, Volume: 65-09, Section: A, page: 3214.
Contained By:	Dissertation Abstracts International65-09A.
標題:	Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3147044
ISBN:	0496055712

The concept of depth in the German musical thought, 1800--1950.
Watkins, Holly Anita.

The concept of depth in the German musical thought, 1800--1950. - 353 p.

Source: Dissertation Abstracts International, Volume: 65-09, Section: A, page: 3214.

Thesis (Ph.D.)--University of California, Berkeley, 2004.

This dissertation traces the history of the metaphor of depth in music criticism and analysis from its origins as a richly figurative term beloved by the German Romantics to its transformation into what many twentieth-century analysts considered the most important aspect of musical structure. Beginning with the emergence of music's "depths" in early nineteenth-century Germany, the five chapters trace the accumulation and transformation of the metaphor's meanings over the course of approximately one hundred and fifty years. This long tradition of metaphorical usage bequeathed many overtones of meaning to later theoretical concepts of depth; these meanings include emotional and spiritual substance, creative genius, unconscious activity, subjective interiority, divinity, historical legitimacy or rootedness, and Germanic pedigree.

ISBN: 0496055712Subjects--Topical Terms:

516178
Music.

The concept of depth in the German musical thought, 1800--1950.
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500 $a Chair: Richard Taruskin.
502 $a Thesis (Ph.D.)--University of California, Berkeley, 2004.
520 $a This dissertation traces the history of the metaphor of depth in music criticism and analysis from its origins as a richly figurative term beloved by the German Romantics to its transformation into what many twentieth-century analysts considered the most important aspect of musical structure. Beginning with the emergence of music's "depths" in early nineteenth-century Germany, the five chapters trace the accumulation and transformation of the metaphor's meanings over the course of approximately one hundred and fifty years. This long tradition of metaphorical usage bequeathed many overtones of meaning to later theoretical concepts of depth; these meanings include emotional and spiritual substance, creative genius, unconscious activity, subjective interiority, divinity, historical legitimacy or rootedness, and Germanic pedigree.
520 $a Seeking to elucidate the implicit symmetry between music and subject expressed in the metaphor of depth, my study pairs the work of musicians with a broad array of writings dealing with issues of depth, interiority, and subjectivity. Chapter One explores the roles of German Pietism, the aesthetic theories of J. G. Herder, and late eighteenth-century geology in establishing the Romantic notion of music's "inner" dimension, an idea crucial to E. T. A. Hoffmann's Beethoven criticism. Chapter Two deals with the influences of German Idealism, J. F. Herbart's psychological theories, and growing national sentiment on A. B. Marx's concept of musical depth, a concept he too reserved especially for the works of Beethoven. Chapter Three shows how Richard Wagner's voluminous aesthetic writings are organized by the metaphor of depth. The chapter interprets the theory of leitmotif in terms of both the composer's nostalgia for a mythic homeland and Carl Gustav Carus's notion of the temporal unconscious. Turning to Wagner's 1856 opera Die Walkure, Chapter Four traces how the deployment of leitmotif in the first act assists Siegmund and Sieglinde's journey into the "depths" of their past. Taking issue with music theory's insistence on the objectivity of musical "deep structures," Chapter Five seeks to clarify the subjective dimension of Schoenberg's twelve-tone music by considering the impact of urban modernity, a topic I approach through Adolf Loos's journalism and architecture, on Schoenberg's conception of his music's "inner" realm.
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