PSYCHOANALYZING MUSIC
So it is no exaggeration to claim that when Mozart is functioning at the top of his form, it is precisely the hidden craft that creates the impression of intense subjective emotion, and that without the concealed devices that only technical analysis can uncover, the emotion could never reach such intensity. A matchless case in point is the slow second movement of the Symphony no. 39 in E♭, K. 543, the first of the “self-motivated” and possibly self-centered 1788 trilogy. What follows will be the closest technical analysis yet attempted in this book, focusing in as it will on the career of a single pitch over the course of the movement (so keep the score at hand). Ultimately, however, the object of analysis will be not so much the recondite technical means as the palpable expressive achievement.
- Citation (MLA):
- Richard Taruskin. "Chapter 11 The Composer’s Voice." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 12 Oct. 2024. <https://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-div1-11002.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 11 The Composer’s Voice. In Oxford University Press, Music In The Seventeenth And Eighteenth Centuries. New York, USA. Retrieved 12 Oct. 2024, from https://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-div1-11002.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 11 The Composer’s Voice." In Music In The Seventeenth And Eighteenth Centuries, Oxford University Press. (New York, USA, n.d.). Retrieved 12 Oct. 2024, from https://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-div1-11002.xml
