LEADER 03357nam 2200613 a 450 001 9910821438103321 005 20240418005823.0 010 $a0-300-16837-3 024 7 $a10.12987/9780300168372 035 $a(CKB)2670000000233747 035 $a(StDuBDS)AH24393380 035 $a(SSID)ssj0000721276 035 $a(PQKBManifestationID)11459872 035 $a(PQKBTitleCode)TC0000721276 035 $a(PQKBWorkID)10687650 035 $a(PQKB)10317039 035 $a(MiAaPQ)EBC3421024 035 $a(DE-B1597)486204 035 $a(OCoLC)1046611317 035 $a(OCoLC)1046994720 035 $a(OCoLC)1049683208 035 $a(OCoLC)1054875985 035 $a(DE-B1597)9780300168372 035 $a(Au-PeEL)EBL3421024 035 $a(CaPaEBR)ebr10587834 035 $a(OCoLC)923599969 035 $a(EXLCZ)992670000000233747 100 $a20100419d2010 uy 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aMusic and sentiment /$fCharles Rosen 205 $a1st ed. 210 $aNew Haven [Conn.] $cYale University Press$dc2010 215 $a1 online resource 300 $aIncludes index. 311 $a0-300-12640-9 327 $aFixing the meaning of complex signs -- Pre-classical sentiment -- Contradictory sentiments -- The C minor style -- Beethoven's expansion -- Romantic intensity -- Obsessions. 330 $aHow does a work of music stir the senses, creating feelings of joy, sadness, elation, or nostalgia? Though sentiment and emotion play a vital role in the composition, performance, and appreciation of music, rarely have these elements been fully observed. In this succinct and penetrating book, Charles Rosen draws upon more than a half century as a performer and critic to reveal how composers from Bach to Berg have used sound to represent and communicate emotion in mystifyingly beautiful ways.Through a range of musical examples, Rosen details the array of stylistic devices and techniques used to represent or convey sentiment. This is not, however, a listener's guide to any "correct" response to a particular piece. Instead, Rosen provides the tools and terms with which to appreciate this central aspect of musical aesthetics, and indeed explores the phenomenon of contradictory sentiments embodied in a single motif or melody. Taking examples from Chopin, Schumann, Wagner, and Liszt, he traces the use of radically changing intensities in the Romantic works of the nineteenth century and devotes an entire chapter to the key of C minor. He identifies a "unity of sentiment" in Baroque music and goes on to contrast it with the "obsessive sentiments" of later composers including Puccini, Strauss, and Stravinsky. A profound and moving work, Music and Sentiment is an invitation to a greater appreciation of the crafts of composition and performance. 606 $aMusic$xPhilosophy and aesthetics 606 $aMusic$xHistory and criticism 615 0$aMusic$xPhilosophy and aesthetics. 615 0$aMusic$xHistory and criticism. 676 $a781/.11 700 $aRosen$b Charles$f1927-$0163588 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910821438103321 996 $aMusic and sentiment$93952842 997 $aUNINA