Musical Representations, Subjects, and Objects: The Construction of Musical Thought in Zarlino, Descartes, Rameau, and Weber (Musical Meaning and Interpretation)

Jairo Moreno adapts the methodologies and nomenclature of Foucault's "archaeology of knowledge" and applies it through individual case studies to the theoretical writings of Zarlino, Descartes, Rameau, and Weber. His conclusion summarizes the conditions—musical, philosophical, and historical—that "make a certain form of thought about music necessary and possible at the time it emerges."Musical Meaning and Interpretation—Robert S. Hatten, editor In His Book, Jairo Moreno Traces The Emergence, Consolidation, And Decline Of Several Different Theoretical Systems, Or Representations. He Explores The Construction, Use, And Transformation Of Various Concepts To Explain Harmony And Harmonic Progressions From The Renaissance To The Romantic Period - An Unusually Broad Scope For A Single Music Theory Book. As Part Of His Analysis, Moreno Investigates The Meaning And Role Of The Listener, Or Musical Subject, Within These Representations.--jacket. Zarlino: Instituting Knowledge In The Time Of Correspondences -- The Representation Of Order: Perception And The Early Modern Subject In Descartes's Compendium Musicae -- The Complicity Of The Imagination: Representation, Subject, And System In Rameau -- Gottfried Weber And Mozart's K. 465: The Contents And Discontents Of The Listening Subject. Jairo Moreno. Includes Bibliographical References (p. [221]-231) And Index. Cover......Page 1 TOC......Page 6 Acknowledgments......Page 8 Notes on Translations......Page 10 Introduction......Page 14 1. Zarlino: Instituting Knowledge in the Time of Correspondences......Page 38 2. The Representation of Order.........Page 63 3. The Complicity of the Imagination.........Page 98 4. Gottfried Weber and Mozart's K. 464.........Page 141 Epilogue......Page 174 Glossary of Greek Terms......Page 182 Notes......Page 184 Bibliography......Page 234 Index......Page 246 Jairo Moreno adapts the methodologies and nomenclature of Foucault's "archaeology of knowledge" and applies it through individual case studies to the theoretical writings of Zarlino, Descartes, Rameau, and Weber. His conclusion summarizes the conditionsmusical, philosophical, and historicalthat "make a certain form of thought about music necessary and possible at the time it emerges." Musical Meaning and InterpretationRobert S. Hatten, editor A provactive application of Foucault's ideas to music theory. To begin, a simple question of order.