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Absolute Music, Mechanical Reproduction$
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Arved Ashby

Print publication date: 2010

Print ISBN-13: 9780520264793

Published to California Scholarship Online: May 2012

DOI: 10.1525/california/9780520264793.001.0001

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PRINTED FROM CALIFORNIA SCHOLARSHIP ONLINE (www.california.universitypressscholarship.com). (c) Copyright University of California Press, 2019. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CALSO for personal use.date: 15 October 2019

Mahler as Imagist

Mahler as Imagist

Chapter:
(p.221) 7. Mahler as Imagist
Source:
Absolute Music, Mechanical Reproduction
Author(s):

Arved Ashby

Publisher:
University of California Press
DOI:10.1525/california/9780520264793.003.0008

This chapter discusses Mahler and imagism, bringing together three different subjects—listener understanding, compositional awareness, and developments in audio technology—that can be related through a notion of the imagistic sensibility. It first studies Mahler's symphonic style and imagism, and the problem of the hammer in the last movement of his Sixth Symphony, after which it studies his abundance and organization of images, which seem to mimic a period of mechanical reproduction. Next, the chapter attempts to determine how media has tried to close the Mahlerian gap between words and music, and the inclusion of Mahler in film. Finally, it studies listening during the age of mechanical reproduction.

Keywords:   Mahler, imagism, listener understanding, compositional awareness, audio technology, imagistic sensibility, symphonic style, mechanical reproduction, Mahlerian gap

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