Read more
No detailed description available for "Sight of Sound".
List of contents
Preface and Acknowledgments
Translator’s Note
Abbreviations
Introduction (by Richard Leppert)
1. Locating Music: Society, Modernity, and the New
Commentary (by Richard Leppert)
Music, Language, and Composition (1956)
Why Is the New Art So Hard to Understand?* (1931)
On the Contemporary Relationship of Philosophy and Music* (1953)
On the Problem of Musical Analysis (1969)
The Aging of the New Music (1955)
The Dialectical Composer* (1934)
2. Culture, Technology, and Listening
Commentary (by Richard Leppert)
The Radio Symphony (1941)
The Curves of the Needle (1927/1965)
The Form of the Phonograph Record (1934)
Opera and the Long-Playing Record (1969)
On the Fetish-Character in Music and the Regression of Listening (1938)
Little Heresy* (1965)
3. Music and Mass Culture
Commentary (by Richard Leppert)
What National Socialism Has Done to the Arts (1945)
On the Social Situation in Music (1932)
On Popular Music [With the assistance of George Simpson] (1941)
On Jazz (1936)
Farewell to Jazz* (1933)
Kitsch* (c. 1932)
Music in the Background* (c. 1934)
4. Composition, Composers, and Works
Commentary (by Richard Leppert)
Late Style in Beethoven (1937)
Alienated Masterpiece: The Missa Solemnis (1959)
Wagner’s Relevance for Today (1963)
Mahler Today* (1930)
Marginala on Mahler* (1936)
The Opera Wozzeck* (1929)
Toward an Understanding of Schoenberg* (1955/1967)
Difficulties* (1964, 1966)
Bibliography
Index
An asterisk (*) following a title indicates that the essay is here translated into English for the first time.
About the author
Richard Leppert is Professor of Comparative Studies in Discourse and Society at the University of Minnesota. His most recent book is Music and Image: Domesticity, Ideology and Socio-Cultural Formation in Eighteenth-Century England (1989).
Summary
This text examines the social meanings of music as they have been shaped not only by hearing, but also by seeing music in performance. The author is particularly interested in the relation of music to the human body, arguing that musical practices are inseperable from discourses of power.
