Music's debt : a study of poetic influence in mid-eighteenth century German instrumental music
department or school: Arts, Faculty of
department or school: Music, School of
data provider: DSpace
degree campus: UBCV
creator: Jang, Laurie
issued: 2010-08-31T21:16:48Z
issued: 1988
related degree: Master of Arts - MA
degree grantor: University of British Columbia
description: The aim of this study is to examine the correspondences of style, technique and aesthetic in poetry and music as it pertains to the musical thought and works of composers centered in Berlin 1740-1760. With the trend toward rational enquiry, the re-affirmation of the Aristotelian theory of imitation, and a return to the ideal of a union of the arts, 18th-century theorists and composers were once again preoccupied with the consanguinity of the "sister" arts of poetry and music. In particular, analogies were made between their materials of expression and the methods by which they achieved their ultimate goal of the imitation of human passions. The "problem" of textless music--i.e., its lack of semantic content--became a primary issue for aesthetic discussion and led to a re-evaluation of music's intrinsic qualities as a medium of expression. Berlin composers working in mid-century were especially susceptible to such aesthetic developments. Led by writer/critics Lessing, Nicolai, and Mendelssohn, a unique literary renaissance characterizing the city was generating wide-spread critical debate on matters concerning the significance and meaning of art. Two major points of discussion among the literati were 1) that since classical times the arts of poetry and music had strayed too far apart, and 2) that music especially needed the support and cognitive power of a poetic text to remain a viable artistic medium. The consequences of these ideas on Berlin composers is immediately apparent in the development of the lied. In this new musical genre which achieved great popularity in Berlin, expression through text and music were considered synonymous as composers worked to close the gap between the two in their technique and methodry. However, the impact of these aesthetic beliefs is not as easily discernible in the instrumental music of mid-eighteenth century Berlin. While it was undisputed that musical tones in themselves contained some indeterminate expressive force, the ration…
aggregated CHO: https://circle.library.ubc.ca/rest/handle/2429/28075
note: MUSIC'S DEBT: A STUDY OF POETIC INFLUENCE IN MID-EIGHTEENTH CENTURY GERMAN INSTRUMENTAL MUSIC BY LAURIE JANG B . M u s i c , The U n i v e r s i t y of B r i t i s h Columbia, 1982 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN THE t'£&UUFG\ OF GRADUATE STUDIES (School of Music) We accept t h i s thes i s as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA SEPTEMBER, 1988 @ L a u r i e Jang, 1988 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of MoS'C The University of British Columbia 1956 Main Mall Vancouver, Canada V6T 1Y3 Date QCTO&feg t ^ J i i ABSTRACT The a im o f t h i s s t u d y i s t o examine the c o r r e s p o n d e n c e s o f s t y l e , t e c h n i q u e and a e s t h e t i c i n p o e t r y and m u s i c as i t p e r t a i n s to t h e m u s i c a l t h o u g h t and works o f composers c e n t e r e d i n B e r l i n 1740-1760 . W i t h the t r e n d t o w a r d r a t i o n a l e n q u i r y , the r e - a f f i r m a t i o n o f the A r i s t o t e l i a n t h e o r y o f i m i t a t i o n , and a r e t u r n to the i d e a l o f a u n i o n o f the a r t s , 1 8 t h - c e n t u r y t h e o r i s t s and composers were once a g a i n p r e o c c u p i e d w i t h the c o n s a n g u i n i t y o f the " s i s t e r " a r t s o f p o e t r y and m u s i c . I n p a r t i c u l a r , a n a l o g i e s were made between t h e i r m a t e r i a l s o f e x p r e s s i o n and the methods by w h i c h t h e y a c h…
has type: Thesis/Dissertation
is shown at: 10.14288/1.0097713
language: eng
degree discipline: Music
provider: Vancouver : University of British Columbia Library
publisher: University of British Columbia
rights: For non-commercial purposes only, such as research, private study and education. Additional conditions apply, see Terms of Use https://open.library.ubc.ca/terms_of_use.
scholar level: Graduate
type: Text
identifier URI: http://hdl.handle.net/2429/28075