Table of contents for Boccherini's body : an essay in carnal musicology / Elisabeth Le Guin.

Bibliographic record and links to related information available from the Library of Congress catalog.

Note: Contents data are machine generated based on pre-publication provided by the publisher. Contents may have variations from the printed book or be incomplete or contain other coding.

List of Figures	000
List of Music Examples	000
CD Playlist	000
Acknowledgments	000
Introduction	000
The origins of this project; Boccherini's generally acknowledged merits; some less 
generally acknowledged qualities; "carnal musicology" as based in the performer's 
viewpoint; brief digests of each chapter to come; excursus: historicizing the terms of 
embodiment; kinesthesia; Condillac; fact and fiction
1. "Cello-and-Bow Thinking": The First Movement of Boccherini's Cello Sonata in E{fl} 
Major, "fuori catalogo"	000
Reciprocity of relationship between performer and dead composer; framing the cellist-
body; a carnal reading of the first half of the movement in question; thumb-
position; pleasure in repetition; cellistic bel canto; the predominance of reflective and 
pathetic affects; communicability and reciprocality; Rousseau on the role of the 
performer; subjectivity as a necessity; the second half of the movement; relationships 
between musical form and carnal experience; Boccherini's "celestial" topos; carnality 
and compositional process; the importance of the visual; in conclusion: the necessary 
ambivalence of my descriptions and analyses
2. "As My Works Show Me to Be": Biographical	000
Boccherini's self-representation in his letters; the lack of solid first-hand biographical 
evidence; the divergence of his performer and composer identities; period anxieties over 
those identities; early years in Lucca; familial emphasis on dance; travels to Vienna, 
1757/63; possibilities of further touring; possible Viennese influences on 
Boccherini; Paris, 1768: the musical and cultural climate; Parisian virtuoso 
cellists; circumstantial evidence of meetings between Boccherini and Jean-Pierre 
Duport; Boccherini's especial success with Parisian publishers; Spain, 
1769; Boccherini's first court post, 1770; the Spanish musical and cultural 
climate; Boccherini's adeptness at finding a place within it
3. Gestures and Tableaux	000
The importance of visuality to period reception; its subsequent decline; the effect of this 
decline on Boccherini's posthumous reputation; Spohr: "This does not deserve to be 
called music!"; a passage that might have provoked such a reaction; Boccherinian stasis 
and repetitiousness; Boccherinian sensibilitø; the paintings of Luis Paret; the 
predominance of soft dynamics; hyper-precision in performance directions; the lacuna as 
sensible strategy; Boccherinian abandonment of melody in favor of texture; the influence 
of acoustics; tableaux in period theater and painting; their relations to 
sensibilitø; absorption; suppressed eroticism; tragedy and the tableau; the reform body: 
Angiolini's classifications of motion styles; Spanish dance and gesture; seguidillas, 
boleros, and fandangos; Boccherini's complex relations to Spanish 
style; "Instrumentalist, what do you want of me?": problems in the relation of 
performance to text
4. Virtuosity, Virtuality, Virtue	000
A theatricalized reading of the Cello Sonata in C Major, G. 17; cyclicity in Boccherini's 
works; inter-generic recycling of themes and movements; unconscious recycling of 
subsidiary passages; the influence of tactile experience on this level of 
composition; etymologies of the word idiom; the sonatas within Boccherini's 
oeuvre; virtuosi; philosophical problems posed by virtuosity; virtuosity contra 
sensibilitø; the grotesque; actorly virtuosity; the automatic and mechanical; bodily 
training toward perfection; the paradox of the actor
5. A Melancholy Anatomy	000
Reports of the 1993 exhumation and autopsy of Boccherini's body; TB, the "white 
death"; musical melancholies; Boccherinian melancholy; Edward Young's Night 
Thoughts; a melancholic reading of the String Quartet in C Minor, op. 9, no. 1, G. 171, 
Allegro; melancholic labyrinths; from Galen to Descartes; sympathetic vibration as a 
cause of or cure for melancholy; various consumptions; life and art: some 
animadversions; satiric melancholy; the performance direction con smorfia; other 
consumptions; Enlightenment anxieties about nocturnal pollution and consumption; the 
Marquis de Sade; a melancholic reading of the String Quartet in G Minor, op. 8, no. 4, G. 
168, Grave; hypochondria as an aspect of musical hermeneutics
6. "It Is All Cloth of the Same Piece": The Early String Quartets	000
An overview of Boccherini's work in this genre; style periodization: Boccherini's 
relatively unchanging style; woven music: his penchant for texture over melody; recycling 
the idea of recycling; the problem of "repetition" in ensemble contexts; sublimated 
caresses; the rococo; address to a sforzando; two analyses of the String Quartet in E 
Major, op. 15, no. 3, G. 179; peculiarities of the work; the first analysis (relatively 
conventional); readerly relationships to analysis; the second analysis (experimental)
7. The Perfect Listener: A Re-creation	000
Boccherini and Haydn's attempt at correspondence; period comparison of the two 
composers; using carnal musicology on composers other than Boccherini; the Perfect 
Listener: re-creating "listener performance practice"; the Perfect Listener attends a 
performance of Haydn's G-major keyboard sonata, Hob. XVI:39; cadential remarks
Appendix: Chronological Table of String Quartets	000
Notes	000
Bibliography	000
Index	000

Library of Congress Subject Headings for this publication:

Boccherini, Luigi, 1743-1805 -- Criticism and interpretation.
Music -- Interpretation (Phrasing, dynamics, etc.).