Wagner's Melodies: Aesthetics and Materialism in German Musical Identity

Wagner's Melodies: Aesthetics and Materialism in German Musical Identity


because the 1840s, critics have lambasted Wagner for missing the facility to compose melody. yet for him, melody used to be primary - 'music's in simple terms form'. This incongruity testifies to the miraculous problems in the course of the 19th century of conceptualizing melody. regardless of its vital position in opera, modern theorists have been not able even to agree on a definition for it. In Wagner's Melodies, David Trippett re-examines Wagner's critical aesthetic claims, putting the composer's rules approximately melody within the context of the medical discourse of his age: from the emergence of the typical sciences and old linguistics to resources approximately music's stimulation of the physique and innovations for 'automatic' composition. Interweaving a wealthy number of fabric from the historical past of technology, song concept, tune feedback, deepest correspondence and courtroom stories, Trippett uncovers a brand new and debatable discourse that positioned melody on the apex of inventive self-consciousness and generated difficulties of pressing dimensions for German track aesthetics.

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