By Mark Evan Bonds
Even supposing "form" is likely one of the most ordinarily used phrases in track interpretation, it continues to be essentially the most ambiguous. This examine explores evolving rules of musical shape from a old standpoint and sheds mild on present conceptualizations of track. Evan Bonds examines the picture - dominant between 18th-century composers and analysts - of song as a language, a type of wordless discourse, which can circulate audiences. within the Baroque and Classical classes an instrumental composition used to be seen as analogous to an oration, its shape the intelligible elaboration of a vital thematic proposal. The major emphasis, for this reason, used to be at the viewpoint of the listener. This rhetorical metaphor is proven giving manner within the nineteenth century to the assumption of a musical paintings as an natural entity, a picture that emphasizes the autonomy of the paintings. The listener, in impression, turns into basically an 3rd get together. In his account of those altering views, Bonds attracts at the writings of a large diversity of 18th- and 19th-century theorists. His analyses specialise in particular sonata shape hobbies through Haydn, Mozart, and Beethoven and are expert through the theoretical premises that symbolize the composers' personal instances. In a last synthesis, the 18th-century rhetorical version - with its specialise in the structural functionality of musical rules and the function of the listener - emerges as a forerunner of modern-day listener-orientated and plot theories approximately musical shape. In "Wordless Rhetoric" Bonds uses literary concept to enhance his cutting edge review of musical shape. This ebook can be invaluable to someone who reports track or seeks to appreciate track research.
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Extra resources for Wordless Rhetoric: Musical Form and the Metaphor of the Oration
1; Koch, Versuch, III, 129-130. See also below, p. 50. 28. See below, pp. 79-80, 84-85, 1 1 9 - 1 2 0 . 29. Meyer, Music, the Arts, and ¡deas: Patterns and Predictions in Twentieth-Century Culture (Chicago: University of Chicago Press, 1967), pp. 96, 258. 30. Wolf, The Symphonies ofJohann Stamitz: A Study in the Formation of the Classic Style (Utrecht: Bohn, Scheltema & Holkema, 1981), chs. 8 and 9. The Paradox of Musical Form 27 testimony to the value of the conformational perspective. But it is important to recognize the essential distinction between the generative and conformational approaches to analysis.
The theoretical premises of musical form have undergone changes since that time that are every bit as important. Yet even the most widely accepted recent attempts to interpret eighteenth-century sources have been influenced, to a surprising degree, by nineteenth-century concepts of form. Only by reevaluating the basis for present-day attitudes toward Classical forms can we begin to recognize the discontinuity of theoretical thought that separates the age of Haydn, Mozart, and Beethoven from our own.
5 S It could perhaps be argued that the greater quantity o f detail in M a r x ' s writings qualitatively alters the nature o f his discussion. M a r x ' s account is more thorough than those b y any o f his predecessors, to be sure, but his treatment represents a logical continuation and expansion o f ideas that can be traced back through Birnbach and Reicha to K o c h and to s o m e extent even to Riepel. T h e schematization o f sonata f o r m w a s already well under w a y b y the end o f the eighteenth century, and it continued throughout the nineteenth.