THE PROBLEM REVISITED
No matter what they thought of Wagner or how they valued his achievement, his contemporaries, and many listeners ever since, have been forced to acknowledge the unprecedented and perhaps never equaled rhetorical force of his music. Whether they loved the experience or hated it, all recognized that the experience of Wagner was emotionally draining and even physically exhausting in a way that no musical experience had ever been before. And all were aware that Wagner's force of expression was a force arising precisely out of his novel and audacious manipulations of the same age-old functional relationships that had governed musical structure and undergirded its coherence since the seventeenth century—since precisely the time, that is, when music's role as “the great persuader” was upheld by the Florentine neo-Platonist academicians who midwifed the birth of opera out of the spirit of the ancient drama.
- Citation (MLA):
- Richard Taruskin. "Chapter 10 Deeds of Music Made Visible (Class of 1813, I)." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 8 Mar. 2014. <http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-010012.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 10 Deeds of Music Made Visible (Class of 1813, I). In Oxford University Press, Music in the Nineteenth Century. New York, USA. Retrieved 8 Mar. 2014, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-010012.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 10 Deeds of Music Made Visible (Class of 1813, I)." In Music in the Nineteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 8 Mar. 2014, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-010012.xml