LEADER 03268nam 22006372 450 001 9910463154303321 005 20151005020621.0 010 $a1-139-88851-X 010 $a1-107-06496-1 010 $a1-107-05656-X 010 $a1-107-05445-1 010 $a1-107-05766-3 010 $a1-139-01370-X 010 $a1-107-05891-0 010 $a1-107-05547-4 035 $a(CKB)2670000000353342 035 $a(EBL)1182940 035 $a(OCoLC)843187556 035 $a(SSID)ssj0000872412 035 $a(PQKBManifestationID)11957749 035 $a(PQKBTitleCode)TC0000872412 035 $a(PQKBWorkID)10829958 035 $a(PQKB)11357448 035 $a(UkCbUP)CR9781139013703 035 $a(MiAaPQ)EBC1182940 035 $a(Au-PeEL)EBL1182940 035 $a(CaPaEBR)ebr10695308 035 $a(CaONFJC)MIL494687 035 $a(EXLCZ)992670000000353342 100 $a20110210d2013|||| uy| 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aWagner's melodies $eaesthetics and materialism in German musical identity /$fDavid Trippett$b[electronic resource] 210 1$aCambridge :$cCambridge University Press,$d2013. 215 $a1 online resource (xiv, 448 pages) $cdigital, PDF file(s) 300 $aTitle from publisher's bibliographic system (viewed on 05 Oct 2015). 311 $a1-316-61823-4 311 $a1-107-01430-1 320 $aIncludes bibliographical references and index. 327 $aGerman melody -- Melodielehre? -- Wagner in the melodic workshop -- Excursus : Bellini's Sinnlichkeit, Wagner's Italy -- Hearing voices : Wilhelmine Schroder-Devrient and the Lohengrin recitatives -- Vowels, voices, and "original truth" -- Wagner's material expression. 330 $aSince the 1840s, critics have lambasted Wagner for lacking the ability to compose melody. But for him, melody was fundamental - 'music's only form'. This incongruity testifies to the surprising difficulties during the nineteenth century of conceptualizing melody. Despite its indispensable place in opera, contemporary theorists were unable even to agree on a definition for it. In Wagner's Melodies, David Trippett re-examines Wagner's central aesthetic claims, placing the composer's ideas about melody in the context of the scientific discourse of his age: from the emergence of the natural sciences and historical linguistics to sources about music's stimulation of the body and inventions for 'automatic' composition. Interweaving a rich variety of material from the history of science, music theory, music criticism, private correspondence and court reports, Trippett uncovers a new and controversial discourse that placed melody at the apex of artistic self-consciousness and generated problems of urgent dimensions for German music aesthetics. 606 $aMusic$y19th century$xPhilosophy and aesthetics 606 $aMelody 615 0$aMusic$xPhilosophy and aesthetics. 615 0$aMelody. 676 $a782.1092 700 $aTrippett$b David$f1980-$01006112 801 0$bUkCbUP 801 1$bUkCbUP 906 $aBOOK 912 $a9910463154303321 996 $aWagner's melodies$92314780 997 $aUNINA