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Violence and music: Literature and ...

Gess, Nicola.

Violence and music: Literature and music criticism around 1800.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Violence and music: Literature and music criticism around 1800.
作者:	Gess, Nicola.
面頁冊數:	361 p.
附註:	Advisers: Thomas Y. Levin; Hartmut Bohme.
附註:	Source: Dissertation Abstracts International, Volume: 66-01, Section: A, page: 0190.
Contained By:	Dissertation Abstracts International66-01A.
標題:	Literature, Germanic.
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3162765
ISBN:	9780496965090

Violence and music: Literature and music criticism around 1800.
Gess, Nicola.

Violence and music: Literature and music criticism around 1800. - 361 p.

Advisers: Thomas Y. Levin; Hartmut Bohme.

Thesis (Ph.D.)--Princeton University, 2005.

The topos of the "violence of music" was widespread around 1800. Music causing madness, overwhelming the listener, or tempting him to immoral sensual enjoyment appears in fictional prose, in musical criticism and aesthetic writings.

ISBN: 9780496965090Subjects--Topical Terms:

212424
Literature, Germanic.

Violence and music: Literature and music criticism around 1800.
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500 $a Source: Dissertation Abstracts International, Volume: 66-01, Section: A, page: 0190.
502 $a Thesis (Ph.D.)--Princeton University, 2005.
520 # $a The topos of the "violence of music" was widespread around 1800. Music causing madness, overwhelming the listener, or tempting him to immoral sensual enjoyment appears in fictional prose, in musical criticism and aesthetic writings.
520 # $a With the rise of the bourgeois society, control over sensual perception, imagination, and emotions gained importance. The challenge which music put to this self-control was experienced as violence, of which three different types can be made out, in analogy to Kant's aesthetic concepts. The first type concerns sensually pleasant music, the second relates to music on the verge of the beautiful which stimulates the imagination, the third type involves sublime music: (1) Pleasant music would threaten the autonomous subject by causing sensual enjoyment. German critics thus feared Rossini's operas, composed with regard to sound and performance, but lacking dramatic form. However, their fascination with Rossini's "siren" Henriette Sonntag demonstrates their proneness to the seduction of the pleasant, as Rellstab's case shows. Heinse, Eichendorff, Jean Paul, and Wackenroder also connect pleasant music to the female/maternal seductress. They devise strategies of sublimation to counteract the desirable and yet dangerous unification; (2) "Beautiful" music would stimulate the listener involuntarily and produce shapeless and sensuous-senseless successions of images, thus driving the listener mad. Especially Free Fantasias (e.g. C. P. E. Bach's), were accused of mirroring the composer's mad imagination and endangering the listener. E. T. A. Hoffmann, however, took disorderliness and confusion to be musical principles analogous to the romantic arabesque. Thus, he thrived in Beethoven's symphonic labyrinths, which other listeners experienced as deeply threatening. Eichendorff warns his readers of the musical madness in "Das Marmorbild", yet immerses them in a language that resembles the music he cautions against; (3) Sublime music overpowering listeners is accompanied by forceful negative experiences as analyzed by physiologically informed aestheticians of the time. With Kant and Schiller emerges the call for a new form of sublime music, characterized by self-constraint. Spontini's operas, which do not adhere to these new principles, are considered dangerous with their extremely loud sounds and violent emotions. Literary authors such as Hoffmann and Kleist, however, were inspired by this pre-Kantian musical sublime.
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