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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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Mahler as Imagist

Mahler as Imagist

(p.221) 7. Mahler as Imagist
Absolute Music, Mechanical Reproduction

Arved Ashby

University of California Press

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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