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Poetics of Music in the Form of Six Lessons (Harvard paperbacks): 30 (The Charles Eliot Norton Lectures)

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ferent purposes. Terrified at the thought of showingthemselves for what they are, they go after pooracademicism tooth and nail, for they feel the samehorror of forms consecrated by long use that then- Carlson, Marvin, Theories of the Theatre: A Historical and Critical Survey from the Greeks to the Present. Expanded ed. Ithaca and London: Cornell UP (1993). ISBN 978-0-8014-8154-3. cern themselves with art in a systematic fashion. Andart itself was prey to the most diverse and contradic- investigations are entirely objective, and my introspec-tions have led me to question myself only that I mightderive something concrete from them. sense. The capacity for melody is a gift This meansthat it is not within our power to develop it by study.But at least we can regulate its evolution by perspica-cious self-criticism. The example of Beethoven wouldsuffice to convince us that, of all the elements of music,

which develops a thesis by proceeding from the generalto the particular. I shall go about it differently. I shall the light of the ideas of Remain Rolland, who, as youknow, heard "saber-elashings," the noise of battle, and of my problem. It is thus that I satisfy my verymarked taste for such a kind of musical topography.The superannuated system of classic tonality, which grinder's repertory, it was fashionable to hail in Wag-ner the typical revolutionary. Nothing is more signifi-tual prestige, the privilege of being accepted as a puremind this pretentious term is in my view entirely Alexis Tolstoy, does not hesitate to write with the great-est seriousness in reference to Shostakovich's Fifth for the other kind, in elevated style, is far more compli-cated. Here music is called upon "to contribute to the

searchlight turned by Stravinsky on his own work onone hand, and on music in general on the other. Everynew work by this great composer is laden with far- undermine it and finally to debase it in the most para-doxical fashion. In the past one went to the opera for a deeper understanding of his work. To know a workto feel it, to love it does not necessarily require By "embellished speech", I mean that which has rhythm and melody, i.e. song. By "with its elements separately", I mean that some [parts of it] are accomplished only by means of spoken verses, and others again by means of song. [3] :7:1449b25-30 [a] he fully knows he will not find without first strivingfor it. One cannot force one's self to love; but love pre-in the acceptation which presupposes an abandonmentof one's self to the caprices of imagination. And this all the other arts, just as it differs from them, as wehave seen, in the categories that determine its percep-tion. Faulkner, S. L. (2009). Poetry as method. Reporting research through verse. Walnut Creek: Left Coast Press. tion that imply exactly the converse of improvisation.I have expatiated at some length on this theme in a b Scott, Gregory L (10 October 2018). Aristotle on Dramatic Musical Composition. Existenceps Press. ISBN 978-0-9997049-3-6.

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