- Title Pages
- Roth Family Foundation
- 1 Et in Arcadia Ego
- 2 Only Time Will Cover the Taint
- 3 “Nationalism”
- 4 Why Do They All Hate Horowitz?
- 5 Optimism amid the Rubble
- 6 A Survivor from the Teutonic Train Wreck
- 7 Does Nature Call the Tune?
- 8 Two Stabs at the Universe
- 9 In Search of the “Good” Hindemith Legacy
- 10 Six limes Sixa
- 11 A Beethoven Season?
- 12 Dispelling the Contagious Wagnerian Mist
- 13 How Talented Composers Become Useless
- 14 Making a Stand against Sterility
- 15 A Sturdy Musical Bridge to the Twenty-first Century
- 16 Calling All Pundits
- 17 In The Rake's Progress, Love Conquers (Almost) All
- 18 Markevitch as Icarus
- 19 Let's Rescue Poor Schumann from His Rescuers
- 20 Early Music
- 21 Bartók and Stravinsky
- 22 Wagner's Antichrist Crashes a Pagan Party
- 23 A Surrealist Composer Comes to the Rescue of Modernism
- 24 Corraling a Herd of Musical Mavericks
- 25 Can We Give Poor Orff a Pass at Last?
- 26 The Danger of Music and the Case for Control
- 27 Ezra Pound
- 28 Underneath the Dissonance Beat a Brahmsian Heart
- 29 Enter Boris Goudenow, Just 295 Years Late
- 30 The First Modernist
- 31 The Dark Side of the Moon
- 32 Of Kings and Divas
- 33 The Golden Age of Kitsch
- 34 No Ear for Music
- 35 Sacred Entertainments
- 36 The Poietic Fallacy
- 37 The Musical Mystique
- 38 Revising Revision
- 39 Back to Whom?
- 40 She Do the Ring in Different Voices
- 41 Stravinsky and Us
- 42 Setting Limits
The Poietic Fallacy
The Poietic Fallacy
- (p.301) 36 The Poietic Fallacy
- The Danger of Music and Other Anti-Utopian Essays
- University of California Press
This chapter focuses on the music career of the composer Arnold Schoenberg and the book Arnold Schoenberg's Journey by Allen Shawn. The music of Schoenberg has been influential and controversial out of all proportion to the frequency with which it has ever been performed or otherwise disseminates. The din surrounding the name of this composer has always threatened to drown his music out. Allen Shawn, a composer on the faculty of Bennington College, wants to rescue the music from the din through his book. In his book Shawn opposes the poietic fallacy—the conviction that what matters most in a work of art is the making of it, the maker's input. He constantly emphasizes listener response as a measure of Schoenberg's value, and constantly implies that that response should not be mediated by “theories,” Schoenberg's or anyone else's. Many of Schoenberg's most painful works such as Erwartung, make their first appeal on a visceral, humane level.
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