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Desire and Pleasure in Seventeenth-Century Music

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Desire and Pleasure in Seventeenth-Century Music Cover

 

Synopses & Reviews

Publisher Comments:

“In this book brimming with great music and great ideas, Susan McClary takes us into the sensual, even bawdy world of the seventeenth century. Its musicians developed ways to express, through tones, the longings and pleasures that the nobility hoped to experience on earth and in heaven. With McClary as our guide, we can tour this sacred and profane landscape of desire and, in our own fashion, luxuriate in its musical beauties.”

—Robert O. Gjerdingen, author of Music in the Galant Style

“In this ambitious study, Susan McClary boldly argues that the seventeenth century was far more than the period in which an emerging tonal practice can be charted in Western music, for it was precisely in this nascent tonality, she claims, that composers discovered affective sonic expression of modern notions of self, temporality, and bodily desire. Enriched by compelling analytic examples and enlivened by McClarys characteristically vivid prose, it is a book sure to arouse the interest of music historians and theorists alike."

—Thomas Christensen, general editor of Cambridge History of Western Music Theory

Synopsis:

In this book, Susan McClary examines the mechanisms through which seventeenth-century musicians simulated extreme affective states—desire, divine rapture, and ecstatic pleasure. She demonstrates how every major genre of the period, from opera to religious music to instrumental pieces based on dances, was part of this striving for heightened passions by performers and listeners. While she analyzes the social and historical reasons for the high value placed on expressive intensity in both secular and sacred music, and she also links desire and pleasure to the many technical innovations of the period. McClary shows how musicians—whether working within the contexts of the Reformation or Counter-Reformation, Absolutists courts or commercial enterprises in Venice—were able to manipulate known procedures to produce radically new ways of experiencing time and the Self.

About the Author

Susan McClary is Professor of Music at Case Western Reserve University. She is the author of many book including Conventional Wisdom: The Content of Musical Form and Modal Subjectivities: Self-Fashioning in the Italian Madrigal, both from UC Press.

Table of Contents

Prelude: The Music of Pleasure and Desire

Part I. The Hydraulics of Musical Desire

1. The Expansion Principle

2. Composites, or the Still-Divided Subject

Part II. Gendering Voice

3. Soprano as Fetish: Professional Singers in Early Modern Italy

4. Gender Ambiguities and Erotic Excess in the Operas of Cavalli

Part III. Divine Love

5. Libidinous Theology

6. Straining Belief: The Toccata

Part IV. Dancing Bodies

7. The Social History of a Groove: Chacona, Ciaccona, Chaconne, and the Chaconne

8. Dancing about Power, Architecture about Dancing

Part V. La Mode Française

9. Temporality and Ideology: Qualities of Motion in Seventeenth-Century French Music

10. The Dragon Cart: The Femme Fatale in Seventeenth-Century French Opera

Postlude: Toward Consolidation

Notes

Index

Product Details

ISBN:
9780520247345
Author:
Mcclary, Susan
Publisher:
University of California Press
Author:
McClary, Susan
Subject:
Music - Classical
Subject:
Classical
Copyright:
Edition Description:
Trade Cloth
Publication Date:
20120331
Binding:
HARDCOVER
Language:
English
Illustrations:
75 music examples
Pages:
360
Dimensions:
9 x 6 x 1 in 1.06 lb

Related Subjects

Arts and Entertainment » Music » General
Arts and Entertainment » Music » Genres and Styles » Classical
Arts and Entertainment » Music » History and Criticism

Desire and Pleasure in Seventeenth-Century Music New Hardcover
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$74.95 In Stock
Product details 360 pages University of California Press - English 9780520247345 Reviews:
"Synopsis" by ,
In this book, Susan McClary examines the mechanisms through which seventeenth-century musicians simulated extreme affective states—desire, divine rapture, and ecstatic pleasure. She demonstrates how every major genre of the period, from opera to religious music to instrumental pieces based on dances, was part of this striving for heightened passions by performers and listeners. While she analyzes the social and historical reasons for the high value placed on expressive intensity in both secular and sacred music, and she also links desire and pleasure to the many technical innovations of the period. McClary shows how musicians—whether working within the contexts of the Reformation or Counter-Reformation, Absolutists courts or commercial enterprises in Venice—were able to manipulate known procedures to produce radically new ways of experiencing time and the Self.
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