By Barbara Wharram, Kathleen Wood
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Additional info for Elementary Rudiments of Music
And yet there are differences, some significant. In the previous volume, musical analysis was directed exclusively at instrumental music. Here, the objects of analysis are divided; one is instrumental music, the other an opera. In fact, this difference is not very significant. Though the characters and themes of The Magic Flute are important to my argument here, the very point of my analysis is to show how the music alone establishes the case for two different ways of viewing it. On the other hand, I have placed far more restrictive formal limits on the music I examine here than I did in the earlier volume.
I It is important to separate the essential from the accidental, to conjure up the mythical Papageno and forget the actual person in the play. —S0ren Kierkegaard9 From the first of my two perspectives, I believe it can be demonstrated that one conceptual principle or theme provides unity at virtually every level of Whose Magic Flute? 3 The Magic Flute, musical as well as textual. " This is, of course, the explicit theme of the libretto in The Magic Flute. 10 To the extent that this humanitarian principle can persuasively be shown to govern The Magic Flute on a multiplicity of structural levels, it offers insight not only into the technical unity of this work but also into the breadth of its social appeal.
The twists taken by my own career have affected not only my life and the lives of my family but also the direction of my thought and scholarship. As the reader of this introduction has seen, I cannot help making connections between my experience and what I study and teach; and this process of making connections has given my written work a shape for which twenty years ago there was no paradigm. One or two reviewers of my earlier book have taken me to task for this aspect of my scholarship. In this one respect, I look forward to the day when more of my reviewers are women; for while I have received some extraordinarily generous reviews from men, and remain a great believer in the importance of staking out common grounds of academic discourse, I Introduction xlvii suspect that some of the ways in which I work are intuitively more congenial to women scholars, on the whole, than to men.