By Charles Rosen
How does a piece of tune stir the senses, developing emotions of pleasure, unhappiness, elation, or nostalgia? notwithstanding sentiment and emotion play an essential position within the composition, functionality, and appreciation of song, hardly have those parts been totally saw. during this succinct and penetrating booklet, Charles Rosen attracts upon greater than a part century as a performer and critic to bare how composers from Bach to Berg have used sound to symbolize and speak emotion in mystifyingly appealing methods. via various musical examples, Rosen information the array of stylistic units and methods used to symbolize or exhibit sentiment. this isn't, in spite of the fact that, a listener's consultant to any 'correct' reaction to a specific piece. as a substitute, Rosen offers the instruments and phrases with which to understand this critical point of musical aesthetics, and certainly explores the phenomenon of contradictory sentiments embodied in one motif or melody. Taking examples from Chopin, Schumann, Wagner, and Liszt, he lines using noticeably altering intensities within the Romantic works of the 19th century and devotes a whole bankruptcy to the main of C minor. He identifies a 'unity of sentiment' in Baroque track and is going directly to distinction it with the 'obsessive sentiments' of later composers together with Puccini, Strauss, and Stravinsky. A profound and relocating paintings, "Music and Sentiment" is a call for participation to a better appreciation of the crafts of composition and function.
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Extra resources for Music and Sentiment
Takin g his scores , say , of the fou r symphonie s o n fait h result s i n performance s tha t ar e infinitely mor e excitin g tha n th e approximation s an d deviation s tha t presentl y fill our recor d catalogues . But le t u s examin e th e questio n o f the 'earl y crescendo ' i n eve n mor e detail . —makin g th e arriva l point o f the crescendo , its 'resolution, ' s o to speak , whic h i s the whol e purpos e o f the crescendo , no t a high poin t bu t a n anti-clima x (o r shal l w e cal l i t a prematur e climax?
I t is therefore a highly critical, a highly discriminating ear; it is a regulatory ear. But it must also be a self-regulatory ear . It must be as much directed at one's sel f (the conductor) a s at the orchestra . Thus the 'thir d ear' is an ear which, critically assesses whether how and what someone i s conducting corres ponds in fact to what is intended b y the compose r i n his score. One ofte n hear s that a certain conducto r "ha s a terrific ear " (or—mor e often , from orchestr a musicians—" a lous y ear") .
I n poin t o f fact , one' s ear s ar e useles s equipmen t i f one's mind , th e musica l intelligence , doe s no t infor m th e ear s what t o hear, what t o be listenin g for. But beyond that , th e statemen t tha t a certain conducto r "has a terrifi c ear " i s meaningless becaus e i t i s ambiguous, unles s the statemen t also define s wha t kind o f ea r i s terrific. Fo r ther e ar e i n m y vie w at leas t seve n different 'ears'—seve n differen t aura l capacities—whic h a conducto r shoul d command.