By Karol Berger

during this erudite and skillfully composed argument, Karol Berger makes use of the works of Monteverdi, Bach, Mozart, and Beethoven to help groundbreaking claims: first, that it used to be in simple terms within the later eighteenth century that tune started to take the circulation of time from the previous to the long run heavily; moment, that this variation within the constitution of musical time used to be a side of a bigger transformation within the means knowledgeable Europeans started to think and examine time with the onset of modernity, part of a shift from the premodern Christian outlook to the trendy post-Christian worldview. until eventually this old second, as Berger illustrates in his research of Bach's St. Matthew ardour, track was once easily "in time." Its successive occasions spread out one after one other, however the contrast among prior and destiny, prior and later, used to be no longer relevant to the best way the tune was once skilled and understood. yet after the shift, as he reveals in Mozart's Don Giovanni, the event of linear time is reworked into music's crucial subject material; the cycle of time unbends and turns into an arrow. Berger enhances those musical case experiences with a wealthy survey of the philosophical, theological, and literary tendencies influencing artists in this period.

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