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Style and Music: Theory, History, and Ideology, by Leonard B. Meyer
Free PDF Style and Music: Theory, History, and Ideology, by Leonard B. Meyer
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Leonard Meyer proposes a theory of style and style change that relates the choices made by composers to the constraints of psychology, cultural context, and musical traditions. He explores why, out of the abundance of compositional possibilities, composers choose to replicate some patterns and neglect others.
Meyer devotes the latter part of his book to a sketch-history of nineteenth-century music. He shows explicitly how the beliefs and attitudes of Romanticism influenced the choices of composers from Beethoven to Mahler and into our own time.
"A monumental work. . . . Most authors concede the relation of music to its cultural milieu, but few have probed so deeply in demonstrating this interaction."—Choice
"Probes the foundations of musical research precisely at the joints where theory and history fold into one another."—Kevin Korsyn, Journal of American Musicological Society
"A remarkably rich and multifaceted, yet unified argument. . . . No one else could have brought off this immense project with anything like Meyer's command."—Robert P. Morgan, Music Perception
"Anyone who attempts to deal with Romanticism in scholarly depth must bring to the task not only musical and historical expertise but unquenchable optimism. Because Leonard B. Meyer has those qualities in abundance, he has been able to offer fresh insight into the Romantic concept."—Donal Henahan, New York Times
- Sales Rank: #1931883 in Books
- Published on: 1997-03-15
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .90" w x 6.00" l, 1.14 pounds
- Binding: Paperback
- 385 pages
Most helpful customer reviews
0 of 1 people found the following review helpful.
Five Stars
By Mario Godoy
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13 of 13 people found the following review helpful.
A stunning work
By Dr. Christopher Coleman
Leonard Meyer once again proves he is one of the great thinkers about music in this fantastically wide-ranging book. The subtitle, Theory, History, and Ideology is not an empty promise--Meyer's discussion is exactly the relationships between Theory and Ideology, especially in Romantic music; how ideology affects compositional practice. His thoughts on elite egalitatarianism, disguise in music, and the persistence of Romanticism are a must-read for the serious music scholar. That Meyer's thoughts can scarely be contained within the confines of a book is deomonstrated by his own writing style--fully half of the book is footnoted asides--points brought up by the main text and worthy of discussion but which would side-track the main points if pursued there; almost as if Meyer has written two books in one! I cannot recommend this book more highly--I think it is one of the most important English language books on music ever written.
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