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  • 1.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    A fair hearing: Review of Mozart, Così fan Tutte, ENO, and Strauss, Der Rosenkavalier, Glyndebourne2014In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211Article, review/survey (Other (popular science, discussion, etc.))
  • 2.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    A Passion beyond our reach2014In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211Article, review/survey (Other (popular science, discussion, etc.))
    Abstract [en]

    Review of John Adams, The Gospel According to the Other Mary

  • 3.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Absolute programme music2017In: British Journal of Aesthetics, ISSN 0007-0904, E-ISSN 1468-2842, Vol. 57, no 1, p. 71-75Article in journal (Refereed)
    Abstract [en]

    Mark Evan Bonds’ recent book, Absolute Music, deepens considerably the historical context within which Eduard Hanslick’s famous treatise on musical beauty can be read. This paper argues that, with the aid of this expanded context, we can understand Hanslick’s treatise to have provided contemporary and subsequent audiences with a kind of meta-programme for listening to symphonic and other non-texted music. That is to say, Hanslick’s text arguably informed and directed the way audiences came to listen to instrumental music by furnishing them with imaginative constructs (about musical form and its spiritual significance) which could then be applied to the practice of musical listening. In much the same way as the texts which supply the poetic scenarios of so-called programme music, Hanslick’s ‘meta-programme’ became indispensable to an expanding culture of musical listening in the second half of the 19th century and beyond beyond. My claim thus contradicts the well-known formalist tenets of Hanslick’s musical aesthetics.

  • 4.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    “Almost Miraculous”: Britten’s Music for Orchestra2013In: Britten’s Century / [ed] Mark Bostridge, London: Bloomsbury Academic, 2013, p. 144-156Chapter in book (Refereed)
  • 5.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Art and the prevention of imagination2016Conference paper (Refereed)
    Abstract [en]

    The idea that the experience of art makes use of our imagination is deeply ingrained in Western thinking about all artforms. Indeed, the notion that art stimulates the imaginations of its audiences, spectators and readers is widely promoted as being one of the principle benefits it brings both to societies and individuals. 

     

    Certainly, it would be hard to deny that the making of works of art does indeed involve imagination. Making a work of art involves, after all, a degree of invention and a weighing up of possibilities. Describing such a process would arguably necessarily involve reference to something like a concept of imagination. However, our assumption that the consumption of art necessarily involves imagination may be less secure.  My paper argues that while the consumption of art may “stimulate” our imagination in a general sense, the way in we typically experience artworks is marked not by the freeing up of imagination but by its curtailment. That is to say, aesthetic experience is marked not by an increase but by a decrease in imaginative activity.

     

    My argument will be pursued as follows. First I will outline a rough working concept of the imagination which aligns a classic definition (Scruton) with the idea that the imagination functions to regulate and improve everyday perception (it arises as a result of our evolved ability to doubt or reflect critically upon our perceptions). Second I will briefly compare the imagination’s role in some examples of everyday perception with some examples of artistic perception drawn from music, film, literature and painting. Third, I will outline an analytic argument according to which aesthetic experience is related to the perception of particular features as necessary and desirable. In this way I claim that states of extreme aesthetic engagement – where we are, for example, “transfixed” or “transported” by a work – require by definition a suspension and curtailment of imaginative activity. 

  • 6.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    BEING WAGNER: The triumph of the will2017In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211, no 5957, p. 20-22Article, book review (Other academic)
  • 7.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Carnival and commedia: Review of Berlioz, Benvenuto Cellini, London Coliseum, and Offenbach, Vert-Vert, Wormsley Park2014In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211Article, review/survey (Other (popular science, discussion, etc.))
  • 8.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Criticism as retrieval, criticism as renewal2015Conference paper (Refereed)
    Abstract [en]

    In this paper I contrast Richard Wollheim's concept of art criticism as retreival with a revised version where criticism is accorded a more creative function 

  • 9.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Cyborgs and psychopaths2016In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211Article, review/survey (Other (popular science, discussion, etc.))
    Abstract [en]

    Review of Rolf Wallin, Elysium, and Modest Mussorgsky, Boris Godunov, performed at Norwegian National Opera House and Royal Opera House, London

  • 10.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Don Giovanni: English National Opera2016In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211, no 5923, p. 22-22Article, book review (Other academic)
  • 11.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Earth-bound emotion2014In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211Article, review/survey (Other (popular science, discussion, etc.))
    Abstract [en]

    Review of Verdi, I Due Foscari, Royal Opera House, London

  • 12.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Fishing for Arias2014In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211Article, review/survey (Other (popular science, discussion, etc.))
    Abstract [en]

    Review of Shostakovich, Lady Macbeth of Mtsensk, Oslo Opera House

  • 13.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Freedom and passion, not peace: A Long-Neglected Opera, Marked By The Absence Of Dmitri Hvorostovsky2018In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211, no 6005, p. 18-18Article in journal (Other academic)
  • 14.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Freedom Obtained Through Love2014In: Wagner: Tristan und Isolde: Royal Opera House Programme, London: Royal Opera House , 2014, p. 38-43Chapter in book (Other (popular science, discussion, etc.))
    Abstract [en]

    Analysis of philosophical background to Wagner's Tristan und Isolde

  • 15.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Gardening Classes2014In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211Article, review/survey (Other (popular science, discussion, etc.))
    Abstract [en]

    Review of Mozart, La Finta Giardiniera, Glyndebourne Festival Opera

  • 16.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Gods and monsters2014In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211Article, review/survey (Other (popular science, discussion, etc.))
    Abstract [en]

    Review of Mozart, Idomeneo, Royal Opera House

  • 17.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology. Uppsala Univ, Uppsala, Sweden..
    Hamlet: From his lowest note to the top of his compass2017In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211, no 5960, p. 21-22Article, book review (Other academic)
  • 18.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    In the beginning was the deed: review of Szenen Aus Goethes Faust2017In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211, no 5978, p. 22-23Article in journal (Refereed)
  • 19.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Inconceivable Grace: Review of Schoenberg, Moses und Aron (Cardiff) and Poulenc, Dialogues des Carmélites (London)2014In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211Article, review/survey (Other (popular science, discussion, etc.))
  • 20.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Lions and villains2014In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211Article, review/survey (Other (popular science, discussion, etc.))
    Abstract [en]

    Review of Verdi, Otello, London Coliseum, and Otello, ed Gary Kahn, Overture Opera Guides

  • 21.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology. Crit Circle, Mus Sect, Uppsala, Sweden..
    Madam Butterfly2017In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211, no 5942, p. 22-22Article, book review (Refereed)
  • 22.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Marnie2017In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211, no 5982, p. 24-24Article in journal (Other (popular science, discussion, etc.))
    Abstract [en]

    Review of Nico Muhly MARNIE, English National Opera.

  • 23.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Nightmare heroics2015In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211Article, review/survey (Other (popular science, discussion, etc.))
    Abstract [en]

    Review of Rossini, Guillaume Tell, Royal Opera House, London, and Verdi, Aida, Opera Holland Park

  • 24.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Not so subtle tragedies2015In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211Article, review/survey (Other (popular science, discussion, etc.))
    Abstract [en]

    Review of Bartok, Le Chateau de Barbe-Bleu and Poulenc, La Voix Humaine, Palais Garnier, Paris, and Mascagni, Cavalleria Rusticana, and Leoncavallo, Pagliacci, Royal Opera House, London

  • 25.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Oedipus and Free Will2016In: George Ensescu and Edmund Fleg: Oedipe: Royal Opera House Programme Book, London: Royal Opera House , 2016, p. 38-43Chapter in book (Other (popular science, discussion, etc.))
    Abstract [en]

    Analysis of the concept of free will in relation to the myth of Oedipus and its ancient and modern handling  

  • 26.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology. Guildhall School of Music and Drama.
    Opera and the Limits of Philosophy:: on Bernard Williams's Music Criticism2010In: British Journal of Aesthetics, ISSN 0007-0904, E-ISSN 1468-2842, Vol. 50, no 4, p. 469-479Article in journal (Refereed)
    Abstract [en]

    This paper provides a reading of the opera criticism of Bernard Williams in the light of his philosophical writings. Beginning with the observations that his philosophical writing lacks engagement with musical and aesthetic issues, and his operatic writing appears to present no particular philosophy of the subject, I try to draw together certain themes by mapping Williams's operatic concerns onto his philosophical project more generally. I argue that the 'excessive' nature of the artform—the idea that opera tends to exceed its musico-dramatic functions—was of particular interest to Williams, partly because it resonated with his dislike of easy theoretical solutions to thorny practical issues. More speci cally, Mozart's Cosi fan tutte is related, via the way the way its emotional register exceeds its dramatic context, to the issues examined by Williams in his work on moral luck. Similarly, I discuss the way Williams's essay on Debussy's Pelléas et Mélisande seems to hint at an account of the emotions which is otherwise missing from Williams's oeuvre. 

  • 27.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Operatic Pile-Ups2014In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211Article, review/survey (Other (popular science, discussion, etc.))
    Abstract [en]

    Review of Puccini, Manon Lescaut, Royal Opera House, London

  • 28.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Out of the Shadows2015In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211, no 5870, p. 18-18Article, book review (Other (popular science, discussion, etc.))
    Abstract [en]

    Review of Hans Gefors, Notorious, Gothenburg Opera

  • 29.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Passing fancy and passionate intensity: Review of Emmanuel Chabrier, L'Étoile and Umberto Giordano, Andrea Chénier2016In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211, no 5889, p. 21-21Article, review/survey (Other academic)
    Abstract [en]

    Review of Emmanuel Chabrier, L'Étoile and Umberto Giordano, Andrea Chénier, performances at the Royal Opera House, London and Leeds Grand Theatre

  • 30.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology. Crit Circle, Mus Sect, London, England..
    Puccini - La Boheme2017In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211, no 5974, p. 19-19Article, book review (Other academic)
  • 31.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Review: L'Invisible2017In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211, no 5978, p. 22-23Article in journal (Other academic)
  • 32.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Romantic Fictions2016In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211Article, review/survey (Other (popular science, discussion, etc.))
    Abstract [en]

    Review of Gaetano Donizetti, Lucia di Lammermoor, at the Royal Opera House, London

  • 33.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Sacrificial Acts2015In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211Article, review/survey (Other (popular science, discussion, etc.))
    Abstract [en]

    Review of Donizetti, Poliuto, Glyndebourne Festival Opera; Bizet, Carmen, English National Opera; Gilbert and Sullivan, The Pirates of Penzance, English National Opera. 

  • 34.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Shifts and Shocks: Between Worlds2015In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211, no 5846, p. 17-17Article in journal (Other (popular science, discussion, etc.))
    Abstract [en]

    Review of Tansy Davies, Between Worlds, Barbican Theatre

  • 35.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Shostakovich THE NOSE2016In: TLS-THE TIMES LITERARY SUPPLEMENT, ISSN 0307-661X, no 5926, p. 22-22Article, book review (Refereed)
  • 36.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    «Sonate, que me veux-tu?»: Jean-Jacques Rousseau and the Problem of Instrumental Music2005In: Ad Parnassum, ISSN 1722-3954, Vol. 3, p. 57-67Article in journal (Refereed)
    Abstract [en]

    The frequency of approving citations of Fontenelle’s famous question, «Sonate, que me veux-tu», re ects the degree of perplexity which met the idea of purely instrumental music in eighteenth-century French musical writing.Although the expressive qualities of such music were rarely denied tout-court, for a century whose pursuit of signs followed an almost exclusively positive conception, the question of what instrumental music signi- ed permitted of no easy answers. For this reason theoretical interest in the aesthetics of instrumental music was almost completely overshadowed by the enormous quantity of material devoted to vocal and theatrical music. The contributions to music theory by the philosopher Jean-Jacques Rousseau are often placed in rm association with this suspicion of the ‘emptiness’ of instrumental music.There are good reasons for this. Rous- seau’s musical writings are almost exclusively concerned with vocal music, his aesthetics of music amount essentially to an aesthetics of opera, and his own compositions are all either vocal or in some way theatrical. Moreover, in systematically pitting signi cant music against merely ‘sensational’ music, the prescriptive thrust of his music theory would appear strongly to condemn pure instrumental music as being neither relevant nor desirable. My intention in this paper is not so much to question the idea that Rousseau condemned pure instrumental music, but rather to suggest that the grounds on which he did so were neither so firm nor unambiguous as is often supposed. After giving a brief exposition of the extreme position taken in Rousseau’s Lettre sur la musique françoise, and offering suggestions as to why the extremity is exceptional, I examine a few key quotations from elsewhere in Rousseau’s musical writings in order to question whether the notion of musical signi cance, as developed by Rousseau in his writings, can really be conceived in opposition to non-vocal music. 

  • 37.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Systems of harmony and colour2018In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211, Vol. May 18, no 6007, p. 18-19Article, book review (Other (popular science, discussion, etc.))
  • 38.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    The Corridor / The Cure2015In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211, no 5855, p. 17-18Article, book review (Other (popular science, discussion, etc.))
  • 39.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology. Uppsala Univ, Uppsala, Sweden..
    The ex factor2017In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211, no 5946, p. 19-20Article in journal (Other academic)
  • 40.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    The impact of kitsch2017In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211, no 5962, p. 21-22Article, book review (Other (popular science, discussion, etc.))
  • 41.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    The Mastersingers of Nuremberg2017In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211, no 5946, p. 19-20Article in journal (Other academic)
  • 42.
    Dammann, Guy
    King's College London.
    The Morality of Musical Imitation in Jean-Jacques Rousseau2006Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The thesis analyses the relation between Rousseau’s musical writings and elements of his moral, social and linguistic philosophy. In particular, I am concerned to demonstrate: (i.) how the core of Rousseau’s theory of musical imitation is grounded in the same analysis of the nature of man which governs his moral and social philosophy; (ii.) how this grounding does not extend to the stylistic prescriptions the justification of which Rousseau intended his musical writings to offer. The central argument draws on Rousseau’s analysis of the origin of man as distinctively human. This origin extends to the awareness of moral and aesthetic value, and to communication in speech and song. Rousseau’s moral analyses of social and political life usually take the form of relating contemporary practice to the original structure in which man’s awareness of his own good is commensurate with that of the good of others. The analysis of music follows a similar model: music is to be considered good in so far as it replicates, or faithfully reflects, the original model of communication. The value of music is thereby understood to extend to moral as well as aesthetic goodness. Given the subtlety of Rousseau’s understanding of the ‘origin’, I argue that this analysis of music’s aesthetic value is powerful and far‐ reaching in its relevance for contemporary musical aesthetics. However, I also argue that while the analysis in general is good in this way, it does not entail the specific kind of musical‐stylistic preferences which Rousseau sought to use it to advance. 

  • 43.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    The music of time: Review of Der Ring Des Nibelungen, Stockholm Royal Opera2017In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211, no 5957, p. 20-22Article, book review (Other (popular science, discussion, etc.))
  • 44.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    The Ontology of Music Criticism2015Conference paper (Refereed)
    Abstract [en]

    Music criticism, whether conceived as newspaper concert and opera reviews or more widely as critical writing about music, is often understood as a parasitic medium. This is true in the simple sense that music criticism could not exist without the music it takes for its object. Conversely, it is also held to be true that music can exist perfectly well without criticism.

    This paper challenges the second of these assumptions. According to the standard view, music criticism stands outside musical works and their performances, offering evaluative and descriptive propositions about them. It therefore does not contribute to the works and performances themselves but purports to contribute to their understanding only. 

    This paper offers an alternative model, according to which successful musical criticism can be understood as contributing to the works themselves. It is structured in three parts. First, a revised ontology of musical works is offered, according to which musical works are understood in normative terms as fields of experience which are substantively formed and altered by instances of musical performance (including recorded performance). Second, a theory of musical criticism whereby the act of criticism is understood to be partly constitutive of the field of musical experience denoted by the word. Criticism, that is to say, contributes directly to the field of what is to be experienced in a particular work, and thus, if persuasive and pervasive, has the potential to become part of what the work is. Third, I will offer a brief analysis of a ETA Hoffmann’s review of Beethoven’s Fifth Symphony, aiming to show how Hoffmann’s critical appraisal of the work became part of what could be heard in the music.

    Finally, I will return to the opening premise and conclude by arguing that music, considered as art, cannot exist perfectly well without the critical discourse that surrounds it, and further by sketching out some of the implications for the practice of music in the present day.

  • 45.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    “The Ontology of Music Criticism”, The Journal of Aesthetics and Art CriticismIn: Journal of Aesthetics and Art Criticism, ISSN 0021-8529, E-ISSN 1540-6245Article in journal (Refereed)
  • 46.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    The poet’s friend: musical cosmopolitanism in Benjamin Britten’s vocal worksIn: Parnassus. Poetry in review, ISSN 0048-3028Article in journal (Refereed)
    Abstract [en]

    In this paper, I discuss Benjamin Britten's handling of song texts in foreign langauges with a view to grounding some remarks about the cosmopolitanism of his musical style.

  • 47.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    The power of song2015In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211Article, review/survey (Other (popular science, discussion, etc.))
    Abstract [en]

    Review of Wagner, Die Meistersinger, English National Opera

  • 48.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    THE RING OF TRUTH: The wisdom of Wagner's Ring of the Nibelung2017In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211, no 5957, p. 20-22Article, book review (Other academic)
  • 49.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Trapped in the machinery2015In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211, no 5877, p. 17-18Article, book review (Other (popular science, discussion, etc.))
    Abstract [en]

    Review of Carl Maria von Weber, Der Jaegerbruden, Danish Royal Opera, Copenhagen

  • 50.
    Dammann, Guy
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.
    Unstable Frustrations2014In: TLS - The Times Literary Supplement, ISSN 0307-661X, E-ISSN 1366-7211Article, review/survey (Other (popular science, discussion, etc.))
    Abstract [en]

    Review of Verdi, Un Ballo in Maschera, Royal Opera House, London

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