Home » Haydns Ingenious Jesting With Art: Contexts Of Musical Wit And Humor by Gretchen A. Wheelock
Haydns Ingenious Jesting With Art: Contexts Of Musical Wit And Humor Gretchen A. Wheelock

Haydns Ingenious Jesting With Art: Contexts Of Musical Wit And Humor

Gretchen A. Wheelock

Published
ISBN : 9780028728551
Hardcover
269 pages
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 About the Book 

Wit, humor, and comic effects have been commonly noted in accounts of Joseph Haydns instrumental music from his own day to ours. Haydns Ingenious Jesting with Art is a unique critical and historical study of this celebrated aspect of the composersMoreWit, humor, and comic effects have been commonly noted in accounts of Joseph Haydns instrumental music from his own day to ours. Haydns Ingenious Jesting with Art is a unique critical and historical study of this celebrated aspect of the composers music and the key role of listeners in its success. Artful jesting indicates a strategy that involves the listener as an active interpreter of compositional alternatives in a musical work. Wheelock discusses how Haydn, utilizing the subversive potential of wit in a variety of classical forms, genres, and venues, both challenged and affirmed the musical conventions of his day. The book is divided into three sections, each providing a different perspective on the wit and humor of Haydns music. Part I, Coming to Terms, takes a multidisciplinary approach to issues of compositional intent and reception history, focusing on changing values of wit and humor in late eighteenth-century literary sources and reviews of Haydns music. Chapter 1, The Musical Joke: A Laughing Matter? details the productive role of humor in heightening consciousness of play with the most basic classical conventions. Dependent on often subtle ambiguities, these musical jokes challenged listeners understanding of how convention and invention should interact, engaging them as participants themselves in a process of completing the jest. Chapter 2 traces important distinctions between wit and humor in a broad range of eighteenth-century sources, both German and English. Chapter 3 examines the critical understanding of the composer as humorist. Such views - both favorable and unfavorable - are inextricably linked with changing attitudes toward the proper role of instrumental music, popular taste, and the role of the composer in fulfilling expectations of increasingly mixed audiences. Part II, Frames of Reference, establishes several models for investigating the process of jesting in Haydns instrumental works. Chapter 4 explores incongruous m