Boccherinis body carnal essay in musicology

And then there was war, a nearly constant reality in late eighteenth-century Europe. Among these qualities were an astonishing repetitiveness, an affection for extended passages with fascinating textures but virtually no melodic line, an obsession with soft dynamics, a unique ear for sonority, and an unusually rich palette of introverted and mournful affects.

A CD of sound examples, performed by the author and her string quartet, is included with the book. Timbral subtleties are certainly not something that are easily perceived on the page.

It does not expand or contract, nor seek to become greater or to alleviate itself. Related Books About the Book In this elegant study of the works of the undeservedly neglected composer Luigi Boccherini, Elisabeth Le Guin uses knowledge gleaned from her own playing of the cello as the keystone of her original approach to the relationship between music and embodiment.

In the late Enlightenment, consumption and melancholy represented, by means respectively physical and psychic, the deadly moment where subjectivity begins to consume itself in solipsism; for that reason they raised the question of the mind-body relation with particular urgency.

There is more, documented in a modest but continuing burgeoning of Boccherini scholarship. In the process, she redefines the temperament of the musical Enlightenment as one characterized by urgent, volatile inquiries into the nature of the self.

To Daniel Heartz, who deftly advised the dissertation from which this book emerged, Boccherinis body carnal essay in musicology whose spacious and gracious understanding of the eighteenth century, and of history in general, I will always strive to emulate.

This work proposes a statue made of marble, to which we, the experimenters, may vouchsafe one sense at a time, the more clearly to observe the operations and the consequences of each in the formation of a self.

Another is simply a matter of historicity. The Galant Style, —", p.

Boccherini's body : an essay in carnal musicology

And this is where we return to Boccherini. Luigi Boccherini; His Life and Work. Music and the Arts. He did not seem terribly interesting—a Kleinmeister, a music-historical also-ran, living in the provinces and writing virtuoso which to me meant second-rate music; and then there was the tiresome inevitability, the unimaginativeness, as I saw it, of myself, a cellist, using musicology, with all its grand critical and philosophical potential, merely to study music by another cellist.

What truck might Boccherini have had with them?

Boccherini's Body : An Essay in Carnal Musicology

To George Thompson and Michelle Dulak, for supplying the scores of op. That intimacy and those works along with the sonatas, which I was exploring on my own were to become the conceptual core of this book, while excerpts from the recordings, included in a CD of sound examples, are proof of the conceptual pudding, as it were.

How did these performances distinguish themselves? Portions of chapters 1, 3, and 4 appear in vol. Musicology and Its Canons. Among audiences of early music there is a palpable nostalgia for newly discovered or rarely played works, and the music of Boccherini presents no exception.

Again and again during this project, I had found myself inventing a methodology—and sometimes dis-inventing one, throwing out days or weeks of labor because the results had proven untenable. I emphasize that this CD is not incidental to my project. Perhaps because it is immune to desire, comfort as artistic currency is a notion that has gone somewhat out of style— art, or at least good art as we are accustomed to think of it, not being a neutral or an indolent matter.

It would be a fascinating and insightful quantitative study to analyze how these tendencies towards organicism, and particularly structural cohesion in musical elements are valued across cultural boundaries, and particularly in societies whose aesthetic trends have developed wholly independent of the Austro-German musical canon.

A Critique of Contemporary Musical Research. Introduction The composer achieves nothing without executants: To Bonnie Hampton, who taught me not only how to play the cello, but how to think about playing it. Le Guin is a joy to read. Schenkerian methodology, with its structural preoccupations, is intimately linked to the values built into the reception history of the Austro-German canon.

One it shares with a number of similar recent efforts: The entire piece was arranged for a double viola quintet in the 18th century. Boccherini spent thirty-six of his sixty-two years there. We can only resort to analogies, images, associations, all of them historically and culturally bound.

There are more still that we pursue on our own behalf, as modes of self-acculturation. For the readers of this book, relief from even a very low level of pain is as near as the bathroom cabinet, in the form of readily available, safe medicines whose only purpose is palliation.

The level of word-origins suggests a relation much subtler and more problematic than the weary old opposition, Fiction or Fact; for in the end, how do we determine where making leaves off and becomes invention?

The Austro-Germanic narrative, not surprisingly, happens to include and place great value on composers whom have cared a great deal about pitch, rhythm, and structure; the very elements that are readily apparent in the score.Boccherini's Body: An Essay in Carnal Musicology by Elisabeth Le Guin starting at $ Boccherini's Body: An Essay in Carnal Musicology has 1 available editions to buy at.

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Boccherini's Body: An Essay in Carnal Musicology [With CD]

ELISABETH LE GUIN BOCCHERINI’S BODY: AN ESSAY IN CARNAL MUSICOLOGYBerkeley and Los Angeles: University of California Press, pp. xxiv +ISBN 0 0 - Volume 4 Issue 2 -.

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Boccherini's Body: An Essay in Carnal Musicology [Elisabeth Le Guin] on alethamacdonald.com *FREE* shipping on qualifying offers. In this elegant study of the works of the undeservedly neglected composer Luigi Boccherini, Elisabeth Le Guin uses knowledge gleaned from her own playing of the cello as the keystone of her original approach to the relationship between music and alethamacdonald.coms: 1.

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Boccherinis body carnal essay in musicology
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