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614 Journal of the American Musicological Society acoustemologies of such “phonographic imperialism” from the perspec- tives of colonizers, missionaries, and Indigenous listeners. ARNE SPOHR The Beethoven Syndrome: Hearing Music as Autobiography, by Mark Evan Bonds. New York: Oxford University Press, 2019. xiii, 325 pp. Describing and distancing supposedly obsolete versions of Beethoven is an old musicological impulse. Arnold Schmitz’s 1927 Das romantische Beetho- venbild is its classic expression, but it goes back a good deal farther than this—to Wagner’s scattergun polemics, Hanslick’s formalist aesthetic theo- ries, and arguably even Czerny’s revisionist performance guides. The prac- tice continues to this day. Indeed, rejecting past Beethovens may look particularly urgent right now, when so many musicians and scholars seem to share a desire for Beethoven to be maximally superseded—whether as Philip Ewell’s downsized “above average composer,” the dark heart of a mori- bund “classical music” culture, or as a shrinking presence on revised univer- sity music curriculums across Europe and North America. Mark Evan Bonds’s The Beethoven Syndrome surely stands at the less po- lemical end of the Beethoven-distancing spectrum, but the book belongs on it nonetheless. Its Jason-Bourne-ish title—reminiscent also of Richard Daw- kins’s New Atheist screed The God Delusion
Journal of the American Musicological Society – University of California Press
Published: Dec 1, 2022
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