HOW MUSIC POSES QUESTIONS
To savor the experience of literary music without the concurrent medium of words we may consider two piano compositions from Schumann's freshest, most idealistic period, one of them tiny, the other grand. A proviso first: although words do not figure concurrently in piano music, they are often present in the form of titles, epigraphs, textual allusions, and so on. These definitely and purposefully mediate the effect of the notes and should be thought of as part of the work rather than as an “extramusical” expendable or a mere concession to “unmusical” beholders. The latter view gained a lot of currency in the twentieth century, owing to the confusion of the romantic idea of “absolute music” with a vein of antiromantic formalism that later invaded musical thought.
- Citation (MLA):
- Richard Taruskin. "Chapter 6 Critics." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 1 Nov. 2014. <http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-006004.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 6 Critics. In Oxford University Press, Music in the Nineteenth Century. New York, USA. Retrieved 1 Nov. 2014, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-006004.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 6 Critics." In Music in the Nineteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 1 Nov. 2014, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-006004.xml