New Paths

Aspects of Music Theory and Aesthetics in the Age of Romanticism

Edited by Darla Crispin and contributions by John Neubauer, Janet Schmalfeldt, Scott Burnham, Susan Youens, and Jim Samson

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New Paths, the seventh volume in the Writings of the Orpheus Institute, is a result of the third International Orpheus Academy for Music Theory. Five renowned scholars discuss a variety of topics related to romanticism, focusing especially on the years 1800–1840. In a much-needed historical and critical overview of the concept of organicism, John Neubauer ranges from its origins in Enlightenment biology to its aftermath in postmodernism. Janet Schmalfeldt shows that Beethoven’s op.47 not only should be called the Bridgetower rather than the Kreutzer Sonata, but also that this makes a difference as to its meaning. Extreme contrasts between emotional and mechanical types of music in late Beethoven are explained by Scott Burnham as stagings of the limits of human subjectivity. Jim Samson discusses Chopin’s little-known musical upbringing in Warsaw, arguing that his grounding in eighteenth-century aesthetics (as opposed to theory) has thus far been neglected. Finally, Susan Youens’ case study of Franz Lachner’s Heine songs sheds new light on radical experimentation by a so-called epigone in the period between Schubert and Schumann’s miracle song year.

With contributions by: Scott Burnham, John Neubauer, Jim Samson, Janet Schmalfeldt, Susan Youens.

fresh tracks, retracings and diversions

John Neubauer
Organicism and Music Theory

Janet Schmalfeldt
Beethoven's "Bridgetower" Sonata, Op. 47

Scott Burnham
Intimacy and Impersonality in Late Beethoven: Contract and the Staging of Subjectivity

Susan Youens
Of Epigones, Aftermaths, and Achievement: The Heine Songs of Franz Lachner

Jim Samson
Chopin and the Traditions of Pedagogy

Format: Edited volume - ebook - PDF

200 pages

ISBN: 9789461660954

Publication: July 01, 2009

Series: Geschriften van het Orpheus Instituut/Collected Writings of the Orpheus Institute 7

Languages: English

Darla Crispin is a pianist and musicologist tracing perspectives from artistic research. Formerly an ORCiM Research Fellow, she is currently Associate Professor of Musicology at the Norwegian Academy of Music (NMH), Oslo.