Emulation is a challenging middle ground between imitation and invention. The idea of rivaling by means of imitation; as old as the Aenead and as modern as Michelangelo; fit neither the pessimistic deference of the neoclassicists nor the revolutionary spirit of the Romantics. Emulation thus disappeared along with the Renaissance humanist tradition; but it is slowly being recovered in the scholarship of Roman art. It remains to recover emulation for the Renaissance itself; and to revivify it for modern practice. Mayernik argues that it was the absence of a coherent understanding of emulation that fostered the fissuring of artistic production in the later eighteenth century into those devoted to copying the past and those interested in continual novelty; a situation solidified over the course of the nineteenth century and mostly taken for granted today. This book is a unique contribution to our understanding of the historical phenomenon of emulation; and perhaps more importantly a timely argument for its value to contemporary practice.
#2034668 in eBooks 2016-03-31 2016-03-31File Name: B01DO989HY
Review
0 of 0 people found the following review helpful. Carnegie Hall: The Birth and First Days of a Palace of MusicBy A Reader in WashingtonFollowing up her excellent biography of ragtime composer Joseph F. Lamb. Carol Binkowski now tells us the story of Carnegie Hall. perhaps the most revered concert hall in America. Its quite a tale.The story begins in 1887. when Andrew Carnegie and his new wife. Louisa. embarked on their honeymoon trip. a voyage to Europe. By chance. a fellow passenger on the steamship Fulda was the 25 year old conductor Walter Damrosch. He and Carnegie became well acquainted. and discussed the need for an outstanding concert hall in New York City. After both men had returned to the United States. they continued their discussions. and wish became transformed into reality.Binkowski then describes the building of what Carnegie so aptly referred to as "no ordinary structure". followed by a detailed recollection of the first four days of performances. The writing is lively. bringing the people and the events of those late-Victorian days into clear focus. What. in many cases. were no more than names to this reader. became fully-fleshed human beings. highly skilled in their fields. and - amazingly. I thought - despite the presence of well-earned and understandable egos. almost universal willingness to enthusiastically and unselfishly dedicate their full energies to the project at hand.Most interest and entertaining to me was the presence of the Russian composer Tchaikovsky. brought to New York by Damrosch to participate musically in the opening festival and performances. Tchaikovsky was well-known for his labile emotions. and though he clearly appreciated and enjoyed his participation. it came at high cost to his nervous system. After a rehearsal. he remarked that "the session...caused a terrible effect on my nerves."The text is beautifully complemented by reproduced period illustrations of the participants. the structure. and musical programs from performances.I heartily recommend this book to anyone interested in classical music. c. 1900 New York history. or the history of philanthropy in America. I will no longer be able to go to a concert at Carnegie Hall without seeing vivid images of dignified men in tuxedos and top hats. and women in lovely full-length gowns. and I suspect the music itself might even have a deeper. richer tone to my ears. thanks to this fine book.
