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In the Process of Becoming: Analytical and Philosophical Perspectives on Form in Early Nineteenth-Century Music

In the Process of Becoming: Analytical and Philosophical Perspectives on Form in Early... 1 Although "sublation" is the standard English translation of Hegel's Aufhebung, Schmalfeldt uses only the German original. In this review I use both terms interchangeably. 57:1, Spring 2013 DOI 10.1215/00222909-2017142 © 2013 by Yale University to broad aesthetic statements (theme as musical object versus its representation and perception as subjective experience. Schmalfeldt's theory of musical becoming, by contrast, is both more restrictive and more firmly grounded. She traces the debate between conformational and generative notions of form in theories ranging from the nineteenth-century Formenlehre of A. B. Marx and the competing systems of Schenker and Schoenberg to the continental perspectives of Adorno and Dahlhaus and the work of contemporary Anglo-American scholars (including Mark Evan Bonds, Scott Burnham, William Caplin, James Hepokoski, David Lewin, Anthony Newcomb, and James Webster), and she offers an eloquent argument for their reconciliation in the notion of "form as process." As Schmalfeldt astutely observes, despite the diverse aesthetic positions and theoretical orientations of these authors, their accounts of structural processes all rely upon the dialectical opposition between ideal prototypes and deviations from them. "There can simply be no perception of `form' whatsoever--form as conventional type, form as unique shape, or form as process--outside the http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Music Theory Duke University Press

In the Process of Becoming: Analytical and Philosophical Perspectives on Form in Early Nineteenth-Century Music

Journal of Music Theory , Volume 57 (1) – Mar 20, 2013

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Publisher
Duke University Press
Copyright
Copyright © Duke Univ Press
ISSN
0022-2909
eISSN
1941-7497
DOI
10.1215/00222909-2017142
Publisher site
See Article on Publisher Site

Abstract

1 Although "sublation" is the standard English translation of Hegel's Aufhebung, Schmalfeldt uses only the German original. In this review I use both terms interchangeably. 57:1, Spring 2013 DOI 10.1215/00222909-2017142 © 2013 by Yale University to broad aesthetic statements (theme as musical object versus its representation and perception as subjective experience. Schmalfeldt's theory of musical becoming, by contrast, is both more restrictive and more firmly grounded. She traces the debate between conformational and generative notions of form in theories ranging from the nineteenth-century Formenlehre of A. B. Marx and the competing systems of Schenker and Schoenberg to the continental perspectives of Adorno and Dahlhaus and the work of contemporary Anglo-American scholars (including Mark Evan Bonds, Scott Burnham, William Caplin, James Hepokoski, David Lewin, Anthony Newcomb, and James Webster), and she offers an eloquent argument for their reconciliation in the notion of "form as process." As Schmalfeldt astutely observes, despite the diverse aesthetic positions and theoretical orientations of these authors, their accounts of structural processes all rely upon the dialectical opposition between ideal prototypes and deviations from them. "There can simply be no perception of `form' whatsoever--form as conventional type, form as unique shape, or form as process--outside the

Journal

Journal of Music TheoryDuke University Press

Published: Mar 20, 2013

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