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"For a concise edition of his legendary arts dictionary of information and opinion, the distinguished critic and arts historian Richard Kostelanetz selects entries from the 2018 third edition. Typically he provides intelligence unavailable anywhere else, no less in print than online, about a wealth of subjects and individuals. Focused upon what is truly innovative and excellent, Kostelanetz also ranges widely with insight and surprise, including appreciations of artistic athletes such as Muhammad Ali and the Harlem Globetrotters and such collective creations as Las Vegas and his native New York City. Continuing the traditions of cheeky high-style Dictionarysts, honoring Ambrose Bierce and Samuel Johnson (both with individual entries), Kostelanetz offers a "reference book" to be enjoyed, not only in bits and chunks but continuously as one of the ten books someone would take if he or she planned to be stranded on a desert isle"--

Artists --- Arts, Modern --- Avant-garde (Aesthetics) --- Arts --- History --- Aesthetics --- Modernism (Art) --- Modern arts --- Arts, Modern - 20th century - Dictionaries --- Avant-garde (Aesthetics) - History - 20th century - Dictionaries --- Avant-garde (Aesthetics) - History - 21th century - Dictionaries --- Arts, Modern - 21th century - Dictionaries

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"The 'Beethoven syndrome' is the inclination of listeners to hear music as the projection of a composer's inner self. This was a radically new way of listening that emerged after Beethoven's death. Beethoven's music was a catalyst for this change, but only in retrospect, for it was not until after his death that listeners began to hear composers--and not just Beethoven--in their works, particularly in their instrumental music. The Beethoven syndrome: hearing music as autobiography traces the rise, fall, and persistence of this mode of listening from the middle of the eighteenth century to the present. Prior to 1830, composers and audiences alike operated within a framework of rhetoric in which the burden of intelligibility lay squarely on the composer, whose task it was to move listeners in a calculated way. But through a confluence of musical, philosophical, social, and economic changes, the paradigm of expressive objectivity gave way to one of subjectivity in the years around 1830. The framework of rhetoric thus yielded to a framework of hermeneutics: concert-goers no longer perceived composers as orators but as oracles to be deciphered. In the wake of World War I, however, the aesthetics of 'new objectivity' marked a return not only to certain stylistic features of eighteenth-century music but also to the earlier concept of expression itself. Objectivity would become the cornerstone of the high modernist aesthetic that dominated the century's middle decades. Masterfully citing a broad array of source material from composers, critics, theorists, and philosophers, Mark Evan Bonds's engaging study reveals how perceptions of subjective expression have endured, leading to the present era of mixed and often conflicting paradigms of listening"--

Music --- Expression (Philosophy) --- Philosophy and aesthetics --- History --- Beethoven, Ludwig van, --- Appreciation --- muziekfilosofie --- expressie --- Beethoven, von, Ludwig --- Philosophy and aesthetics&delete& --- Bītʹhūfin, --- Beethoven, L. van --- Beethoven, Louis van, --- Beethoven, Ludvig van, --- Bethovenas, L., --- Betkhoven, Li︠u︡dvig van, --- Beṭhoṿn, Ludṿig ṿan, --- Beethoven, Ludwik van, --- Betkhoven, L. van --- Bētōven, Rūtovihhi van, --- בטהובן --- בעטהאָוון, לודוויג וואן --- ベートベン, ルートビッヒ, --- 贝多芬, --- History. --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Self-expression --- Philosophy --- Music - Philosophy and aesthetics - History --- Expression (Philosophy) - History --- Beethoven, Ludwig van, - 1770-1827 - Appreciation - History --- Beethoven, Ludwig van, - 1770-1827