A classic in music theory since its publication in 1981; this work models music understanding from the perspective of cognitive science. The point of departure is a search for a grammar of music with the aid of generative linguistics. The theory; which is illustrated with numerous examples from Western classical music; relates the aural surface of a piece to the musical structure unconsiously inferred by the experienced listener. From the viewpoint of traditional music theory; it offers many innovations in notatation as well as in the substance of rhythmic and reductional theory.
#897256 in eBooks 2009-01-10 2009-01-10File Name: B002WJM6EA
Review
8 of 11 people found the following review helpful. The Symphony Grows UpBy California BillIn this well written and heavily documented book. Mark Evan Bonds focuses on the nineteenth century symphony. The book is full of passionate and exalted quotations from various nineteenth century philosophical writers. Bonds claim is that the listeners changed how instrumental music was understood. Bonds sees the status of instrumental music as rising in the early nineteenth century. so that it equaled or exceeded that of vocal music. Bonds writes: "because of its independence from words. music could express that which lay beyond the grasp of conventional language."The philosophy of the nineteenth century assisted listeners to hear music in a new way. Listeners were urged to consider the essence of music. and not just its outward effects. Any hint that music is representational was eradicated.Bonds says that listeners grew to hear music as knowledge. rather than entertainment. But he does not explain the nature of this wordless knowledge. or how we can identify it. Rather. he says that the nineteenth century listener embraced mysticism. and the ineffability of the infinite.Bonds goes on to say that nineteenth century symphonic music "engaged listeners toward the broader challenge of reconciling personal autonomy with social order." Thus the symphony was like an ideal state. where individuals operated freely within a given framework.The last few chapters of the book dwell on German nationalism. and the role of music festivals in German society. These chapters miss the mark of the original claim of the book. and seem as if they are from a different book.As a boring philosophical realist. I have a hard time accepting these exalted nineteenth century views on music. I embrace the modern incantation "what you see is what you get." To me. music is about notes and patterns. and does not express the grand visions of ultimate philosophy.
