Motives for Allusion: Context and Content in Nineteenth-Century Music

Reynolds, Christopher Alan

Published by Harvard University Press, 2003
ISBN 10: 067401037X / ISBN 13: 9780674010376
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When a critic pointed out to Brahms that the finale theme in his First Symphony was remarkably similar to the Ode to Joy theme in Beethoven's Ninth, he is said to have replied: "Yes indeed, and what's really remarkable is that every jackass notices this at once." Not every musical borrowing is quite so obvious; but the listener who does perceive one is always left wondering: what does the similarity mean? In this illuminating book Christopher Reynolds gives us answers to that complex question.

Reynolds identifies specific borrowings or allusions in a wide range of nineteenth-century music. He shows the kinds of things composers do with borrowed musical ideas, and discusses why a composer would choose to deploy such allusions. A rich historical background for the practice emerges from his analysis. Musical borrowing touches directly on issues of central importance for nineteenth- and twentieth-century composition: notions of creativity and originality, the constraints of tradition and innovation, musical symbolism and the listener's ear. In clarifying what it can mean when one piece of music invokes or refers to another, Reynolds expands our understanding of what we hear.

About the Author: Christopher Alan Reynolds is Professor of Music at the University of California, Davis.

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Title: Motives for Allusion: Context and Content in...
Publisher: Harvard University Press
Publication Date: 2003
Binding: HRD
Book Condition: New

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Book Description HARVARD UNIVERSITY PRESS, United States, 2003. Hardback. Condition: New. Language: English . This book usually ship within 10-15 business days and we will endeavor to dispatch orders quicker than this where possible. Brand New Book. When a critic pointed out to Brahms that the finale theme in his First Symphony was remarkably similar to the Ode to Joy theme in Beethoven s Ninth, he is said to have replied, Yes indeed, and what s really remarkable is that every jackass notices this at once . Not every musical borrowing is quite so obvious but the listener who does perceive one is always left wondering, what does the similarity mean? Christopher Reynolds gives answers to that complex question. Reynolds identifies specific borrowings or allusions in a wide range of 19th-century music. He shows the kinds of things composers do with borrowed musical ideas and discusses why a composer would choose to deploy such allusions. A rich historical background for the practice emerges from this analysis. Musical borrowing touches directly on issues of central importance for 19th- and 20th-century composition: notions of creativity and originality, the constraints of tradition and innovation, musical symbolism and the listener s ear. Reynolds clarifies what it can mean when one piece of music invokes or refers to another. Seller Inventory # BTE9780674010376

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