Scott Burnham - Sounding Values: Selected Essays

SOUNDING VALUES

For several decades, Scott Burnham has sought to bring a ready ear and plenty of humanistic warmth to musicological inquiry. Sounding Values features eighteen of his essays on mainstream Western music, music theory, aesthetics and criticism. In these writings, Burnham listens for the values aesthetic, ethical, intellectual of those who have created influential discourse about music, while also listening for the values of the music for which that discourse has been generated. The first half of the volume confronts pressing issues of historical theory and aesthetics, including intellectual models of tonal theory, leading concepts of sonata form, translations of music into poetic meaning, and recent rifts and rapprochements between criticism and analysis. The essays in the second half can be read as a series of critical appreciations, engaging some of the most consequential reception tropes of the past two centuries: Haydn and humor, Mozart and beauty, Beethoven and the sublime, Schubert and memory.

ASHGATE CONTEMPORARY THINKERS ON CRITICAL MUSICOLOGY

The titles in this series bring together a selection of previously published and some unpublished essays by leading authorities in the field of critical musicology. The essays are chosen from a wide range of publications and so make key works available in a more accessible form. The authors have all made a selection of their own work in one volume with an introduction which discusses the essays chosen and puts them into context. A full bibliography points the reader to other publications which might not be included in the volume for reasons of space. The previously published essays are published using the facsimile method of reproduction to retain their original pagination, so that students and scholars can easily reference the essays in their original form.

Titles published in the series
Critical Musicology and the Responsibility of Response
Lawrence Kramer

Music and Historical Critique
Gary Tomlinson

Taking Popular Music Seriously
Simon Frith

Music, Performance, Meaning
Nicholas Cook

Reading Music
Susan McClary

Sound Judgment
Richard Leppert

Music, Structure, Thought
James Hepokoski

Musical Belongings
Richard Middleton

Sounding Values

Selected Essays

SCOTT BURNHAM
Princeton University, USA

ASHGATE CONTEMPORARY THINKERS ON CRITICAL MUSICOLOGY

First published 2010 by Ashgate Publishing

Published 2016 by Routledge

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Copyright Scott Burnham 2010

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British Library Cataloguing in Publication Data

Burnham, Scott G.

Sounding values : selected essays. (Ashgate contemporary thinkers on critical musicology)

1. Music-History and criticism. 2. Music-Philosoophy and aesthetics.

I. Title II. Series

780-dc22

Library of Congress Control Number: 2010923338

ISBN 9780754628866 (hbk)

Contents

Romantic Aesthetics

Interpreting Historical Theory

The State of Play: Approaches to Criticism and Analysis

Haydn, Mozart, Beethoven

Schubert, Schumann

The author and publisher wish to thank the following for permission to use copyrighted material:

Cambridge University Press for the essays: A.B. Marx and the Gendering of Sonata Form, in Music Theory in the Age of Romanticism, Ian Bent (ed.), (Cambridge University Press, 2002), pp. 163186. Copyright 1996 Cambridge University Press; Models of Music Analysis: From, Chapter in The Cambridge History of Westen Music Theory, ed. By Thomas Christensen (Cambridge Unviersity Press, 2002), pp. 880906. Copyright 2002 Cambridge University Press; The Second Nature of Sonata Form, in Music Theory and Natural Order, Suzannah Clark and Alexander Rehding (ed.), (Cambridge University Press, 2001), pp. 11141. Copyright 2001 Cambridge University Press; Haydn and Humor, Chapter for The Cambridge Companion to Haydn, Caryl Clark (ed.), (Cambridge University Press, 2005), pp. 6176. Copyright 2005 Cambridge University Press; The Four Ages of Beethoven: Critical Reception and the Canonic Composer, chapter in The Cambridge Companion to Beethoven, Glenn Stanley (ed.), (Cambridge University Press, 2000), pp. 27291. Copyright 2000 Cambridge University Press; Novel Symphonies, Dramatic Overtures, chapter for The Cambridge Companion to Schumann, Beate Perrey (ed.), (Cambridge University Press, 2007), pp. 14872. Copyright 2007 Cambridge University Press.

Harvard University, Department of Music for the essay: On the Beautiful in Mozart, in Music and the Aesthetics of Modernity, a Festschrift for Reinhold Brinkmann, Karol Berger and Anthony Newcomb (eds.) (Harvard University Press, 2005), pp. 3952. Copyright 2005 by the President and Fellows of Harvard College. All rights reserved.

Oxford University Press for the essays: How Music Matters: Poetic Content Revisited, in Rethinking Music, by Nicholas Cook and Mark Everist (eds), (Oxford University Press, 1998), pp. 193216. Copyright 1999 Oxford University Press; Mozarts felix culpa: Cos fan tutte and the Irony of Beauty, Musical Quarterly, 78, 1 (1994), pp. 7798. Copyright 1994 Oxford University Press; Schubert and the Sound of Memory, [an invited response to four papers on Schubert and Memory] Musical Quarterly 84, 4, (Winter, 2000), pp. 65563. Copyright 2000 Oxford University Press.

Princeton University for the essays: Review Essay, E.T.A. Hoffmanns Musical Writings, by David Charlton (ed.), Martyn Clarke (trans.), (Cambridge, 1989), 19th-Century Music, (Spring 1991), pp. 28696. Copyright 1991 by The Regents of the University of California; Criticism, Faith, and Idee: A.B. Mars Early Reception of Beethoven, 19th-Century Music (Spring 1990), pp. 18392. Copyright 1990 by The Regents of the University of California; Musical and Intellectual Values: Interpreting the History of Tonal Theory, Current Musicology, No. 53, (1993), pp. 7688. Copyright 1993 The Trustees of Columbia University in the City of New York; Method and Motivation in Hugo Riemanns History of Harmonic Theory, Music Theory Spectrum, (Spring 1992), pp. 114; The Criticism of Analysis and the Analysis of Criticism, 19th-Century Music (Summer 1992), pp. 7076. Copyright 1992 by The Regents of the University of California; Theorists and The Music Itself, Music Theory Online, (1996) and the Journal of Musicology, (3), (Summer 1997), pp. 31629. Copyright 1997 by The Regents of the University of California; Landscape as Music, Landscape as Truth: Schubert and the Burden of Repetition,