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Musical Meaning: Toward a Critical History, by Lawrence Kramer
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Lawrence Kramer has been a pivotal figure in the development of the controversial new musicology, integrating the study of music with social and cultural issues. This accessible and eloquently written book continues and deepens the trajectory of Kramer's thinking as it boldly argues that humanistic, not just technical, meaning is a basic force in music history and an indispensable factor in how, where, and when music is heard. Kramer draws on a broad range of music and theory to show that the problem of musical meaning is not just an intellectual puzzle, but a musical phenomenon in its own right.
How have romantic narratives involving Beethoven's "Moonlight" Sonata affected how we hear this famous piece, and what do they reveal about its music? How does John Coltrane's African American identity affect the way we hear him perform a relatively "white" pop standard like "My Favorite Things"? Why does music requiring great virtuosity have different cultural meanings than music that is not particularly virtuosic? Focusing on the classical repertoire from Beethoven to Shostakovich and also discussing jazz, popular music, and film and television music, Musical Meaning uncovers the historical importance of asking about meaning in the lived experience of musical works, styles, and performances. Kramer's writing, clear and full of memorable formulations, demonstrates that thinking about music can become a vital means of thinking about general questions of meaning, subjectivity, and value. In addition to providing theoretical advances and insights on particular pieces and repertoires, Musical Meaning will be provocative reading for those interested in issues of identity, gender, and cultural theory. This book includes a CD of Kramer's own composition, Revenants: 32 Variations in C Minor, which he discusses in his final chapter.
- Sales Rank: #2299921 in Books
- Published on: 2001-12-03
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .88" w x 6.00" l, 1.08 pounds
- Binding: Paperback
- 350 pages
From the Inside Flap
"A major work of consistently striking originality and insight, produced by a mature scholar at the peak of his career. To his subject Kramer brings a distinctly impressive command of recent cultural and critical theory, and an equally impressive knowledge of a broad range of music literature, from Beethoven to Coltrane. Kramer reads music and musical practices with captivating, compelling insight. His work provides readers with an immeasurably better grasp of how and what music means, and also how music shapes people."—Richard Leppert, author of The Sight of Sound
About the Author
Lawrence Kramer is Professor of English and Music at Fordham University and the coeditor of 19th Century Music. He is author of six books, including After the Lovedeath: Sexual Violence and the Making of Culture (California 1997), Classical Music and Postmodern Knowledge (California 1995), and Music as Cultural Practice, 1800–1900 (California 1990).
Most helpful customer reviews
8 of 10 people found the following review helpful.
meaning is subjective BUT
By Jeremiah Lawson
Kramer essentially argues that the meaning of music is subjective and that we attribute meaning to music. But he argues against the idea that music can mean whatever people want it to mean and uses literary history and film soundtracks to prove that subjective meaning is music is corporate as well as individual. His best example is the legendary violin shrieks in Psycho. Without Janet Leigh's scream those violin shrieks could mean something else. The violin shrieks don't acquire meaning by themselves but through historic association with the film. This case study alone provides the example of his best work and the case of the whole book.
Much of the book is mired in too much political theory for my taste and Kramer fumbles with most jazz. He never even addresses rock music despite making the case that avant garde music left normal listeners no option but to look to rock and jazz for tunes. For an argument that pointed he should have at least explained why he didn't examine pop music.
You may want to check out Rhythm & Noise by Theodore Gracyk since that book explores related ideas on the other side of the pop/art music divide.
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