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  3. Music, Subjectivity, and Schumann
  • Cited by 4
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    • Publisher:
      Cambridge University Press
      Publication date:
      07 April 2022
      07 April 2022
      ISBN:
      9781009158091
      9781009158084
      9781009158077
      DOI:
      https://doi.org/10.1017/9781009158091
      Dimensions:
      (244 x 170 mm)
      Weight & Pages:
      0.819kg, 382 Pages
      Dimensions:
      (244 x 170 mm)
      Weight & Pages:
      0.66kg, 382 Pages
      • Subjects:
      Music, Music Criticism, Nineteenth-Century Music
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    Subjects:
    Music, Music Criticism, Nineteenth-Century Music
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    Book description

    The concept of subjectivity is one of the most popular in recent scholarly accounts of music; it is also one of the obscurest and most ill-defined. Multifaceted and hard to pin down, subjectivity nevertheless serves an important, if not indispensable purpose, underpinning various assertions made about music and its effect on us. We may not be exactly sure what subjectivity is, but much of the reception of Western music over the last two centuries is premised upon it. Music, Subjectivity, and Schumann offers a critical examination of the notion of musical subjectivity and the first extended account of its applicability to one of the composers with whom it is most closely associated. Adopting a fluid and multivalent approach to a topic situated at the intersection of musicology, philosophy, literature, and cultural history, it seeks to provide a critical refinement of this idea and to elucidate both its importance and limits.

    Reviews

    ‘Thoughtfully conceived and written, this is an insightful, engaging study of value to academic readers interested in Schumann and his music, musical meaning in the romantic era, and notions of subjectivity and the self as expressed in the arts. Given the difficulties many others have faced in clearly articulating the meaning and means of conveying ‘subjectivity’ in music, Taylor brings to bear here a commendable precision. His writing not only is dense with thought-provoking ideas and illustrative examples but also is presented in easy-to-follow, meticulously organized prose that locates the music’s expressions of subjectivity in specific musical elements, with clear and persuasive explanations. In these respects, Taylor’s book serves as a model for further explorations of subjectivity in the music of other composers.’

    Jacquelyn Sholes Source: Notes, the Quarterly Journal of the Music Library Association

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