Ludwig van Beethoven
A Very Short Introduction
Price: 375.00 INR
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ISBN:
9780190051730
Publication date:
10/08/2022
Paperback
168 pages
170x110mm
Price: 375.00 INR
We sell our titles through other companies
Disclaimer :You will be redirected to a third party website.The sole responsibility of supplies, condition of the product, availability of stock, date of delivery, mode of payment will be as promised by the said third party only. Prices and specifications may vary from the OUP India site.
ISBN:
9780190051730
Publication date:
10/08/2022
Paperback
168 pages
Mark Evan Bonds
Proposes a new way of listening to Beethoven that takes us beyond the iconic scowl and more nearly reflects the way in which the composer's contemporaries heard his music,Approaches Beethoven's music as a series of variations on his life as manifested through his ideals and his attitudes toward deafness, friendship, love, religion, money, and politics,Draws heavily on Beethoven's writings - his letters, his diary - and lets the composer's personality emerge through his own words
Rights: OUP USA (INDIAN TERRITORY)
Mark Evan Bonds
Description
Proposes a new way of listening to Beethoven by understanding his music as an expression of his entire self, not just the iconic scowl
Despite the ups and downs of his personal life and professional career - even in the face of deafness - Beethoven remained remarkably consistent in his most basic convictions about his art. This inner consistency, writes the music historian Mark Evan Bonds, provides the key to understanding the composer's life and works. Beethoven approached music as he approached life, weighing whatever occupied him from a variety of perspectives: a melodic idea, a musical genre, a word or phrase, a friend, a lover, a
patron, money, politics, religion. His ability to unlock so many possibilities from each helps explain the emotional breadth and richness of his output as a whole, from the heaven-storming Ninth Symphony to the eccentric Eighth, and from the arcane Great Fugue to the crowd-pleasing Wellington's Victory. Beethoven's works, Bonds argues, are a series of variations on his life. The iconic scowl so familiar from later images of the composer is but one of many attitudes he could assume and project through his music. The supposedly characteristic furrowed brow and frown, moreover, came only after his time. Discarding tired myths about the composer, Bonds proposes a new way of listening to
Beethoven by hearing his music as an expression of his entire self, not just his scowling self.
About the author
Mark Evan Bonds, Cary C. Boshamer Distinguished Professor of Music, University of North Carolina, Chapel HillMark Evan Bonds is the Cary C. Boshamer Distinguished Professor of Music at the University of North Carolina, Chapel Hill, where he has taught since 1992. A former editor-in-chief of Beethoven Forum, he has written widely on the music of Haydn, Mozart, and Beethoven.
Mark Evan Bonds
Table of contents
Introduction
1. The Scowl
2. The Life
3. Ideals
4. Deafness
5. Love
6. Money
7. Politics
8. Composing
9. Early-Middle-Late
10. The Music
11. "Beethoven"
References
Further Reading
Index
Mark Evan Bonds
Description
Proposes a new way of listening to Beethoven by understanding his music as an expression of his entire self, not just the iconic scowl
Despite the ups and downs of his personal life and professional career - even in the face of deafness - Beethoven remained remarkably consistent in his most basic convictions about his art. This inner consistency, writes the music historian Mark Evan Bonds, provides the key to understanding the composer's life and works. Beethoven approached music as he approached life, weighing whatever occupied him from a variety of perspectives: a melodic idea, a musical genre, a word or phrase, a friend, a lover, a
patron, money, politics, religion. His ability to unlock so many possibilities from each helps explain the emotional breadth and richness of his output as a whole, from the heaven-storming Ninth Symphony to the eccentric Eighth, and from the arcane Great Fugue to the crowd-pleasing Wellington's Victory. Beethoven's works, Bonds argues, are a series of variations on his life. The iconic scowl so familiar from later images of the composer is but one of many attitudes he could assume and project through his music. The supposedly characteristic furrowed brow and frown, moreover, came only after his time. Discarding tired myths about the composer, Bonds proposes a new way of listening to
Beethoven by hearing his music as an expression of his entire self, not just his scowling self.
About the author
Mark Evan Bonds, Cary C. Boshamer Distinguished Professor of Music, University of North Carolina, Chapel HillMark Evan Bonds is the Cary C. Boshamer Distinguished Professor of Music at the University of North Carolina, Chapel Hill, where he has taught since 1992. A former editor-in-chief of Beethoven Forum, he has written widely on the music of Haydn, Mozart, and Beethoven.
Table of contents
Introduction
1. The Scowl
2. The Life
3. Ideals
4. Deafness
5. Love
6. Money
7. Politics
8. Composing
9. Early-Middle-Late
10. The Music
11. "Beethoven"
References
Further Reading
Index
Nicholas Cook
Philip V. Bohlman
Music, Modernity, and Publicness in India
Tejaswini Niranjana
Oxford Dictionary of Musical Terms
Alison Latham
Kathryn Kalinak
Matthew Restall
Polybius, Robin Waterfield, Brian McGing
Nicholas Cook
Mark Katz
