Opposing Views Of Absolute Music
Rick Watts
Dr. Beth McGinnis
Music History II
Monday, May 12, 2008
Absolute Music
I. Introduction
In this paper I will offer several opposing views regarding instrumental music, and its purpose. I will do so by summarizing prominent people’s beliefs on this matter, and offering some quotations by these people which most thoroughly and concisely convey their thoughts. I will conclude the paper with my personal thoughts and beliefs regarding instrumental music.
II. The Views The term absolute music was originally coined by Richard Wagner. Since the term's initial appearance in the mid 1800s, it has been used to describe instrumental music in both positive and negative ways. Wagner viewed absolute music as being a lesser …show more content…
This was achieved through a choral finale which uses the text of Friedrich Schiller's poem Ode an die Freude ("Ode to Joy").[2] Beethoven's 9th Symphony is a dark and stormy work until the choral finale, is introduced by a baritone soloist singing “Oh friends, not these tones! Rather let us sing more cheerful and more joyful ones. Joy! Joy!” This is a very appropriate bridge between the stormy portion of the symphony and the joyful choral finale.[3] Wagner's view is that through this choral finale the true meaning of this work is conveyed. Regarding the instrumental recitative of the fourth movement, Wagner wrote: “Already almost breaking the bounds of absolute music, it stems the tumult of the other instruments with its virile eloquence, pressing toward decision, and passes at last into song-like theme.”[4]
Carl Dahlhaus clarified this …show more content…
6. Dictionary.Com Unabridged (V 1.1). 8 May 2008 .
Best, Harold M. Music Through the Eyes of Faith. 1st Ed. ed. San Francisco: HarperSanFrancisco, 1993.
Chua, Daniel K. L. Absolute Music and the Construction of Meaning. New York: Cambridge UP, 1999.
Classical Music Library. Alexander Street Press. 6 May 2008 .
Dahlhaus, Carl. The Idea of Absolute Music. Trans. Roger Lustig. Chicago: University of Chicago P, 1989.
Halpern, Diane F. Thought & Knowledge an Introduction to Critical Thinking. 4th ed. Mahwah: Lawrence Erlbaum Associates,, 2003.
Hanslick, Eduard, and Geoffrey Payzant. On the Musically Beautiful a Contribution Towards the Revision of the Aesthetics of Music. Indianapolis, Ind: Hackett Pub. Co., 1986.
Hanslick, Eduard. The Beautiful in Music. Trans. Gustav Cohen. 7th ed. London: Novello and Company, 1891.
Hoffmann, E. T. A, and David Charlton. E.T.A. Hoffmann's Musical Writings Kreisleriana, the Poet and the Composer, Music Criticism. New York: Cambridge UP, 1989.
Kivy, Peter. Introduction to a Philosophy of Music. New York: Clarendon P, 2002.
Kivy, Peter. Music Alone Philosophical Reflections on the Purely Musical Experience. Ithaca: Cornell UP,
Dr. Beth McGinnis
Music History II
Monday, May 12, 2008
Absolute Music
I. Introduction
In this paper I will offer several opposing views regarding instrumental music, and its purpose. I will do so by summarizing prominent people’s beliefs on this matter, and offering some quotations by these people which most thoroughly and concisely convey their thoughts. I will conclude the paper with my personal thoughts and beliefs regarding instrumental music.
II. The Views The term absolute music was originally coined by Richard Wagner. Since the term's initial appearance in the mid 1800s, it has been used to describe instrumental music in both positive and negative ways. Wagner viewed absolute music as being a lesser …show more content…
This was achieved through a choral finale which uses the text of Friedrich Schiller's poem Ode an die Freude ("Ode to Joy").[2] Beethoven's 9th Symphony is a dark and stormy work until the choral finale, is introduced by a baritone soloist singing “Oh friends, not these tones! Rather let us sing more cheerful and more joyful ones. Joy! Joy!” This is a very appropriate bridge between the stormy portion of the symphony and the joyful choral finale.[3] Wagner's view is that through this choral finale the true meaning of this work is conveyed. Regarding the instrumental recitative of the fourth movement, Wagner wrote: “Already almost breaking the bounds of absolute music, it stems the tumult of the other instruments with its virile eloquence, pressing toward decision, and passes at last into song-like theme.”[4]
Carl Dahlhaus clarified this …show more content…
6. Dictionary.Com Unabridged (V 1.1). 8 May 2008 .
Best, Harold M. Music Through the Eyes of Faith. 1st Ed. ed. San Francisco: HarperSanFrancisco, 1993.
Chua, Daniel K. L. Absolute Music and the Construction of Meaning. New York: Cambridge UP, 1999.
Classical Music Library. Alexander Street Press. 6 May 2008 .
Dahlhaus, Carl. The Idea of Absolute Music. Trans. Roger Lustig. Chicago: University of Chicago P, 1989.
Halpern, Diane F. Thought & Knowledge an Introduction to Critical Thinking. 4th ed. Mahwah: Lawrence Erlbaum Associates,, 2003.
Hanslick, Eduard, and Geoffrey Payzant. On the Musically Beautiful a Contribution Towards the Revision of the Aesthetics of Music. Indianapolis, Ind: Hackett Pub. Co., 1986.
Hanslick, Eduard. The Beautiful in Music. Trans. Gustav Cohen. 7th ed. London: Novello and Company, 1891.
Hoffmann, E. T. A, and David Charlton. E.T.A. Hoffmann's Musical Writings Kreisleriana, the Poet and the Composer, Music Criticism. New York: Cambridge UP, 1989.
Kivy, Peter. Introduction to a Philosophy of Music. New York: Clarendon P, 2002.
Kivy, Peter. Music Alone Philosophical Reflections on the Purely Musical Experience. Ithaca: Cornell UP,