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.


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Contents
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.).