By Erik Wallrup
Listening in response to temper might be what most folks do after they take heed to song. we wish to participate in, or maybe be a part of, the rising global of the musical paintings. utilizing the assets of musical background and philosophy, Erik Wallrup explores this tremendous imprecise and elusive phenomenon, that's held to be primary to musical listening to. Wallrup unfolds the untold musical background of the German notice for a "mooda (TM), Stimmung, which within the nineteenth century was once plentiful within the musical aesthetics of the German-Austrian sphere. Martin Heideggera (TM)s much-discussed philosophy of Stimmung is brought into the sector of track, permitting Wallrup to understand totally the possibility of the idea that. temper in track, or, to be extra unique, musical attunement, shouldn't be obvious as a unusual form of emotionality, yet that which constitutes essentially the connection among listener and tune. Exploring temper, or attunement, is imperative for a radical realizing of the act of hearing tune.
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Additional info for Being Musically Attuned: The Act of Listening to Music
Johnson, Listening in Paris: A Cultural History, 65 66 Berkeley: University of California Press 1995. 67 Cf. Willi Kahl, ‘Das lyrische Klavierstück Schuberts und seiner Vorgänger seit 1810’, Archiv für Musikwissenschaft, vol. 3 (1920–21), pp. 54–82, 99–122. Stimmung in Music: Vicissitudes of a Concept 1770–1930 35 change was prompted by composers such as Václav Tomášek and his student Jan Václav Voříšek, who had begun to develop the piano miniature, with Tomášek’s Six Eclogues and Voříšek’s Impromptus op.
73. 25 Cf. Christian Gottfried Körner, ‘Ueber Charakterdarstellung in der Musik’, in Gesammelte Schriften, Leipzig: Grunow 1881 (1795), p. 94. 26 Cf. ‘Zu Gottfried Körners Aufsatz “Über Charakterdarstellung in der Musik”’, in Schiller, op. , pp. 1081–4. 27 ‘Über Matthisons Gedichte’, in Schiller, op. , pp. 1016–37, cit. p. 1023. Stimmung in Music: Vicissitudes of a Concept 1770–1930 23 Even if there are instances where Stimmung is used in the aesthetic sense of the word before the 1770s, it is only by then that the conceptualization starts, both in theory and in literary works.
154. 70 Cf. Besseler, op. , pp. 160–61. See also Besseler’s article ‘Spielfiguren in der Instrumentalmusik’, Deutsches Jahrbuch für Musikwissenschaft für 1956, Leipzig: Peters 1957, pp. 12–38. 71 Karol Berger, A Theory of Art, Oxford: Oxford University Press 2000, p. 201. 72 Lawrence Kramer, Why Classical Music Still Matters, Berkeley: University of California Press 2007, p. 145. 68 36 Being Musically Attuned It seems to be reasonable to start to use the term Stimmung at this point in the history of musical composition, despite the fact that it had been known in the act of listening at least 25 years earlier.