New Paths: Aspects of Music Theory and Aesthetics in the Age of Romanticism (Collected Writings of the Orpheus Institute)

In __New Paths__, five renowned scholars discuss a variety of topics related to Romanticism, focusing especially on the years 1800–1840. In a much-needed historical and critical overview of the concept of organicism, John Neubauer ranges from its origins in Enlightenment biology to its aftermath in postmodernism. Janet Schmalfeldt shows that not only Beethoven's op.47 should be called the __Bridgetower__ rather than the __Kreutzer Sonata__ but also that this makes a difference as to its meaning. Scott Burnham explains extreme contrasts between emotional and mechanical types of music in late Beethoven as stagings of the limits of human subjectivity. Jim Samson discusses Chopin's little-known musical upbringing in Warsaw, arguing that his grounding in eighteenth-century aesthetics (as opposed to theory) has thus far been neglected. Finally, Susan Youens's case study of Franz Lachner's Heine songs sheds light on radical experimentation by a so-called epigone in the period between Schubert and Schumann's miracle song year. **Contributors:** Scott Burnham, Princeton University; John Neubauer, University of Amsterdam; Jim Samson, Royal Holloway, University of London; Janet Schmalfeldt, Tufts University; Susan Youens, University of Notre Dame

In New Paths, five renowned scholars discuss a variety of topics related to Romanticism, focusing especially on the years 1800-1840. In a much-needed historical and critical overview of the concept of organicism, John Neubauer ranges from its origins in Enlightenment biology to its aftermath in postmodernism. Janet Schmalfeldt shows that not only Beethoven's op.47 should be called the Bridgetower rather than the Kreutzer Sonata but also that this makes a difference as to its meaning. Scott Burnham explains extreme contrasts between emotional and mechanical types of music in late Beethoven as stagings of the limits of human subjectivity. Jim Samson discusses Chopin's little-known musical upbringing in Warsaw, arguing that his grounding in eighteenth-century aesthetics (as opposed to theory) has thus far been neglected. Finally, Susan Youens's case study of Franz Lachner's Heine songs sheds light on radical experimentation by a so-called epigone in the period between Schubert and Schumann's miracle song year.

Contributors: Scott Burnham, Princeton University; John Neubauer, University of Amsterdam; Jim Samson, Royal Holloway, University of London; Janet Schmalfeldt, Tufts University; Susan Youens, University of Notre Dame

New Paths, the seventh volume in the Writings of the Orpheus Institute, is a result of the third International Orpheus Academy for Music Theory. Five renowned scholars discuss a variety of topics related to romanticism, focusing especially on the years 1800–1840. In a much-needed historical and critical overview of the concept of organicism, John Neubauer ranges from its origins in Enlightenment biology to its aftermath in postmodernism. Janet Schmalfeldt shows that Beethoven's op.47 not only should be called the Bridgetower rather than the Kreutzer Sonata, but also that this makes a difference as to its meaning. Extreme contrasts between emotional and mechanical types of music in late Beethoven are explained by Scott Burnham as stagings of the limits of human subjectivity. Jim Samson discusses Chopin's little-known musical upbringing in Warsaw, arguing that his grounding in eighteenth-century aesthetics (as opposed to theory) has thus far been neglected. Finally, Susan Youens'case study of Franz Lachner's Heine songs sheds new light on radical experimentation by a so-called epigone in the period between Schubert and Schumann's miracle song year. With contributions by: Scott Burnham, John Neubauer, Jim Samson, Janet Schmalfeldt, Susan Youens. New Paths – Aspects of Music Theory and Aesthetics in the Age of Romanticism 4 Contents 6 Fresh Tracks, Retracings and Diverions 8 Organicism and Music Theory 12 1. General Features of Organicism 12 2. Birth and Growth of Organicism: a Critical Look at the Literature 13 3. Organicist Principles – an Outline 23 Modes of Oranganicist Discourse 23 Organicist Views of the Mind and of the Creative Process 25 Organic Models of Artworks 26 Oeganicist Historiographies 27 4. Three Modernist and Organicist Concepts of Music 30 Formalist Organicism: Arnold Schönberg 30 Morphological Aesthetics: Anton Webern 31 The Organicism of Folk Art: Béla Bartók 32 5. The Death of Organicism? 34 Works Cited 35 Beethoven’s “Bridgetower” Sonata, OP. 47 38 Intimacy and Impersonality in Late Beethoven: Contrast and the Staging of Subjectivity 70 Of Epigones, Aftermaths, and Achievement: The Heine Songs of Franz Lachner 86 Chopin and the Traditions of Pedagogy 116 Personalia 130 John Neubauer 132 Janet Schmalfeldt 132 Scott Burnham 133 Susan Youens 133 Jim Samson 134 Darla Crispin 134 Colophon 136 Organicism and music theory / John Neubauer Beethoven's "Bridgetower" sonata, op. 47 / Janet Schmalfeldt Intimacy and impersonality in late Beethoven : contrast and the staging of subjectivity / Scott Burnham Of Epigones, aftermaths, and achievement : the Heine songs of France Lachner / Susan Youens Chopin and the traditions of pedagogy / Jim Samson. "This is the seventh publication in the series "Collected Writings of the Orpheus Institute.""--Jacket.