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001			BV044719034
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005			20241017150345.0
007			t
008			180117s2017 xxua||| |||| 00||| eng d
020			_a9780190851170 _cpaperback
020			_a9780199343638 _chardback
035			_a(OCoLC)1032681384
035			_a(DE-599)BVBBV044719034
040			_aDE-604 _bger _erda
041	0		_aeng
044			_axxu _cXD-US
049			_aDE-M468 _aDE-824
050		0	_aML3854
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084			_aLR 56820 _0(DE-625)109812:13528 _2rvk
084			_a9,2 _2ssgn
100	1		_aBonds, Mark Evan _d1954- _eVerfasser _0(DE-588)131657917 _4aut _9331
245	1	0	_aAbsolute music _bthe history of an idea _cMark Evan Bonds
264		1	_aOxford ; New York, NY [u.a.] _bOxford Univ. Press _c2017
300			_aXIII, 375 Seiten _bIll.
336			_aText _btxt _2rdacontent
337			_aohne Hilfsmittel zu benutzen _bn _2rdamedia
338			_aBand _bnc _2rdacarrier
500			_aLiteraturverz. S. 317 - 351
520			_aWhat is music, and why does it move us? From Pythagoras to the present, writers have struggled to isolate the essence of "pure" or "absolute" music in ways that also account for its profound effect. In Absolute Music: The History of an Idea, Mark Evan Bonds traces the history of these efforts across more than two millennia, paying special attention to the relationship between music's essence and its qualities of form, expression, beauty, autonomy, as well as its perceived capacity to disclose philosophical truths. The core of this book focuses on the period between 1850 and 1945. Although the idea of pure music is as old as antiquity, the term "absolute music" is itself relatively recent. It was Richard Wagner who coined the term, in 1846, and he used it as a pejorative in his efforts to expose the limitations of purely instrumental music. For Wagner, music that was "absolute" was isolated, detached from the world, sterile. His contemporary, the Viennese critic Eduard Hanslick, embraced this quality of isolation as a guarantor of purity. Only pure, absolute music, he argued, could realize the highest potential of the art. Bonds reveals how and why perceptions of absolute music changed so radically between the 1850s and 1920s. When it first appeared, "absolute music" was a new term applied to old music, but by the early decades of the twentieth century, it had become-paradoxically-an old term associated with the new music of modernists like Schoenberg and Stravinsky.
520			_aBonds argues that the key developments in this shift lay not in discourse about music but rather the visual arts. The growing prestige of abstraction and form in painting at the turn of the twentieth century-line and color, as opposed to object-helped move the idea of purely abstract, absolute music to the cutting edge of musical modernism. By carefully tracing the evolution of absolute music from Ancient Greece through the Middle Ages to the twentieth-century, Bonds not only provides the first comprehensive history of this pivotal concept but also provokes new thoughts on the essence of music and how essence has been used to explain music's effect. A long awaited book from one of the most respected senior scholars in the field, Absolute Music will be essential reading for anyone interested in the history, theory, and aesthetics of music.
648		7	_aGeschichte _2gnd _9rswk-swf
650		4	_aMusik
650		4	_aAbsolute music
650		4	_aMusic _xPhilosophy and aesthetics
650	0	7	_aAbsolute Musik _0(DE-588)4141115-8 _2gnd _9rswk-swf
650	0	7	_aMusikphilosophie _0(DE-588)4123809-6 _2gnd _9rswk-swf
653			_aFellow
653			_aDaimlerChrysler
653			_aClass of Fall 2002
776	0	8	_iErscheint auch als _nOnline-Ausgabe _z978-0-19-934364-5
776	0	8	_iErscheint auch als _nOnline-Ausgabe, PDF _z978-0-19-934365-2
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999			_c9149 _d9149