Mark Evan Bonds
Biographic Data
| ID | 1070425 |
|---|---|
| NAME | Mark Evan Bonds |
| GIVEN NAMES | Mark Evan |
| FAMILY NAME | Bonds |
| SIGNATURE | BONDS M E |
| AFFILIATIONS | University of North Carolina at Chapel Hill |
| VERIFIED | No |
| TOTAL WORKS | 7 |
| TOTAL CITATIONS | 13 |
| AUTHOR COUNT | 7 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1991 |
| LATEST PUBLICATION YEAR | 2016 |
| H-INDEX | 2 |
Replies to My Critics
I am grateful to the commentators for their sympathetic and thoughtful attention to my work. The questions and objections they raise go to the heart of my project, and, while it has been rewarding to work through them, it has not been easy to respond to them. For reasons of space, I have not been able to address every point raised, but I have tried to respond to those which I find most challenging. One distinctive feature of my interpretation of …
Synopsis
At some point, debates about the ontology of music inevitably confront the idea of absolute music, either as a concept or as a repertory. If we want exemplars of the art in its most basic form, we typically turn to works for instruments alone, without a sung text and without verbal titles or headings that might suggest associations from outside the realm of music. This distinction between ‘pure’ music and—by implication—alloyed, ‘impure’ music co…
Replacing Haydn
In a letter to his father dated 24 April 1784, Mozart lavished extravagant praise on Ignaz Pleyel's string quartets Op. 1 (1783), and he urged Leopold to go out of his way to secure a copy: 'You will at once recognize in them his master. Fineçand it will be fortunate for music if Pleyel in his time is capable of replacing Haydn for us!' Pleyel had studied with Haydn in the 1770s and openly modelled several movements in Op. 1 on movements from Hay…
Symphony
Symphony in the 19th century
Idealism and the Aesthetics of Instrumental Music at the Turn of the Nineteenth Century
The growing aesthetic prestige of instrumental music in the last decades of the eighteenth century was driven not so much by changes in the musical repertory as by the resurgence of idealism as an aesthetic principle applicable to all the arts. This new outlook, as articulated by such writers as Winckelmann, Moritz, Kant, Schiller, Herder, Fichte, and Schelling, posited the work of art as a reflection of an abstract ideal, rather than as a means …
Haydn, Laurence Sterne, and the Origins of Musical Irony
The repeated comparisons during Haydn's own lifetime between his music and the prose of the English novelist Laurence Sterne (1713-1768) point to qualities that go beyond essentially local devices generally described as "humorous" or "witty." Both Haydn and Sterne were acknowledged masters at fusing serious and comic elements in a single work, and both were strongly associated with the quality of Laune, by which the artist's disposition will inev…
Idealism and the Aesthetics of Instrumental Music at the Turn of the Nineteenth Century
The growing aesthetic prestige of instrumental music in the last decades of the eighteenth century was driven not so much by changes in the musical repertory as by the resurgence of idealism as an aesthetic principle applicable to all the arts. This new outlook, as articulated by such writers as Winckelmann, Moritz, Kant, Schiller, Herder, Fichte, and Schelling, posited the work of art as a reflection of an abstract ideal, rather than as a means …
Haydn, Laurence Sterne, and the Origins of Musical Irony
The repeated comparisons during Haydn's own lifetime between his music and the prose of the English novelist Laurence Sterne (1713-1768) point to qualities that go beyond essentially local devices generally described as "humorous" or "witty." Both Haydn and Sterne were acknowledged masters at fusing serious and comic elements in a single work, and both were strongly associated with the quality of Laune, by which the artist's disposition will inev…
Haydn, Laurence Sterne, and the Origins of Musical Irony
The repeated comparisons during Haydn's own lifetime between his music and the prose of the English novelist Laurence Sterne (1713-1768) point to qualities that go beyond essentially local devices generally described as "humorous" or "witty." Both Haydn and Sterne were acknowledged masters at fusing serious and comic elements in a single work, and both were strongly associated with the quality of Laune, by which the artist's disposition will inev…
Idealism and the Aesthetics of Instrumental Music at the Turn of the Nineteenth Century
The growing aesthetic prestige of instrumental music in the last decades of the eighteenth century was driven not so much by changes in the musical repertory as by the resurgence of idealism as an aesthetic principle applicable to all the arts. This new outlook, as articulated by such writers as Winckelmann, Moritz, Kant, Schiller, Herder, Fichte, and Schelling, posited the work of art as a reflection of an abstract ideal, rather than as a means …
Symphony
Symphony in the 19th century
Replacing Haydn
In a letter to his father dated 24 April 1784, Mozart lavished extravagant praise on Ignaz Pleyel's string quartets Op. 1 (1783), and he urged Leopold to go out of his way to secure a copy: 'You will at once recognize in them his master. Fineçand it will be fortunate for music if Pleyel in his time is capable of replacing Haydn for us!' Pleyel had studied with Haydn in the 1770s and openly modelled several movements in Op. 1 on movements from Hay…
Replies to My Critics
I am grateful to the commentators for their sympathetic and thoughtful attention to my work. The questions and objections they raise go to the heart of my project, and, while it has been rewarding to work through them, it has not been easy to respond to them. For reasons of space, I have not been able to address every point raised, but I have tried to respond to those which I find most challenging. One distinctive feature of my interpretation of …
Synopsis
At some point, debates about the ontology of music inevitably confront the idea of absolute music, either as a concept or as a repertory. If we want exemplars of the art in its most basic form, we typically turn to works for instruments alone, without a sung text and without verbal titles or headings that might suggest associations from outside the realm of music. This distinction between ‘pure’ music and—by implication—alloyed, ‘impure’ music co…
Art (5 works) · Musicology and Musical Analysis (4 works) · Aesthetics (3 works) · Diverse Musicological Studies (3 works) · Epistemology (3 works) · Philosophy (3 works) · Absolute (philosophy (2 works) · Art history (2 works) · History (2 works) · Literature (2 works)