Late-nineteenth-century music traded structural working-through for sheer instrumental expressiveness.
Evidence
Nor, on the other hand, does the Beethoven melody ever reach that extreme autonomy and overripeness of those devised by the hypersubjective composers of the later nineteenth century—let Tchaikovsky stand as their archetype—for whom the contrapuntal work is reduced to a bare minimum, the working through of themes to perfunctory and monitory repetition, and in whose work the center of gravity of musical invention moves to sheer instrumental expressiveness and orchestral coloration. — Fredric Jameson, Marxism and Form, 95
Categorization
- XREF: The Tchaikovsky example anticipates Adorno’s critique of reified, regressive listening — melody as autonomous commodity detached from mediation. — connects to: Nineteenth-century musical form and instruments mirrored industrial aggression — Schafer, Murray R, The Soundscape- Our Sonic Environment…, 392; Advanced music’s immanent development abolishes bourgeois expressive categories. — Rolf Wiggershaus, The Frankfurt School: Its History,…, 490; The late nineteenth century craved greatness emptied of specific achievements — Hannah Arendt, The Origins of Totalitarianism, 233
Broader Connections
- Nineteenth-century musical form and instruments mirrored industrial aggression
#complicates(0.75) — Schafer, Murray R, The Soundscape- Our Sonic Environment…, 392 - The late nineteenth century craved greatness emptied of specific achievements
#qualifies(0.75) — Hannah Arendt, The Origins of Totalitarianism, 233 - Advanced music’s immanent development abolishes bourgeois expressive categories.
#contradicts(0.72) — Rolf Wiggershaus, The Frankfurt School, 490