Genetic Criticism and the Creative Process

Reviews / Votes

Musicologists should certainly find it refreshing to read writers like Geert Lernhout . . . [who write] with such ample reserves of wit and good humour. . . [The various chapters] provide plentiful food for thought. . . Lockwood offers the most eloquent statement about what is, generally, at stake. . . McCallum's . . . is the most persuasively far-reaching contribution. . . . [Donin's chapter] lifts this critical enterprise into a new and even more complex world. -- Arnold Whittall * MUSIC & LETTERS * [Explores] the plurality of creative endeavor. Music holds a predominant position in these inquiries, with Beethoven at the forefront. In an excellent essay, Lewis Lockwood argues that [Beethoven's sketches] divulge the 'conceptual image,' an original idea of basic shape that served as an anchor for the working out of musical material. * THE BEETHOVEN JOURNAL * The French school of critique genetique has provided invaluable models for future developments. That coordinated projects among scholars in different disciplines and from different countries are spreading this gospel can only be received with wonder and delight. The insights into musical and literary works that result are bearing immediate fruit and will continue to prove useful to future generations of humanistic scholars. -- Philip Gossett, Robert W. Reneker Distinguished Service Professor of Music, The University of Chicago Works in the performing arts are by nature 'living art' because no two performances are ever exactly the same. Through detailed documentation, the case studies in this volume demonstrate that genetic criticism [la critique genetique] is ideally suited for analyzing and evaluating works in the performing arts -- music, theater, and film. Reading these penetrating studies, one is reminded of Paul Valery's remark that a poem is 'never finished, only abandoned. -- William H. Rosar, Editor, <i>The Journal of Film Music</i>