|LES THÉMATIQUESOUVRAGES GÉNÉRAUXÉCRITUREENSEIGNEMENTPOUR LES ENFANTS|
|LES HOMMESLES OEUVRESLES EPOQUESLES SCIENCESLES ARTSLES INSTRUMENTSLES PAYS|
|OUVRAGES GENERAUXMUSIQUE DE CHAMBREMUSIQUE SYMPHONIQUEMUSIQUE CHORALEMELODIES ET LIEDEROPERAS, OPERETTESLIVRETS D'OPERACHANSONJAZZ, BLUESPOP, ROCK|
1. german melody
3. wagner in the melodic workshop
4. hearing voices: wilhelmine schröder-devrient and the lohengrin 'rec
5. vowels, voices, and 'original truth
6. wagner's material expression
Excursus: bellini's sinnlichkeit and wagner's italy.
Since the 1840s, critics have lambasted Wagner for lacking the ability to compose melody. But for him, melody was fundamental - 'music's only form'. This incongruity testifies to the surprising difficulties during the nineteenth century of conceptualizing melody. Despite its indispensable place in opera, contemporary theorists were unable even to agree on a definition for it.
In Wagner's Melodies, David Trippett re-examines Wagner's central aesthetic claims, placing the composer's ideas about melody in the context of the scientific discourse of his age: from the emergence of the natural sciences and historical linguistics to sources about music's stimulation of the body and inventions for 'automatic' composition.
Interweaving a rich variety of material from the history of science, music theory, music criticism, private correspondence and court reports, Trippett uncovers a new and controversial discourse that placed melody at the apex of artistic self-consciousness and generated problems of urgent dimensions for German music aesthetics.