Abstract
A problem for those writing about music around 1800 was delivering persuasive judgments about works that readers had not heard, especially for journals that sought to mold a self‐conscious musical public. One tactic was the citation of musical examples in the form of interpolated images from the score. After surveying the development of this technique in the eighteenth century, this article examines the shifting use of musical citation in the works of E.T.A. Hoffmann. His review of Beethoven's Fifth Symphony for Leipzig's Allgemeine Musikalische Zeitung pioneered a new use of citation that went beyond evaluation to deliver an aesthetic impression of the work. In his Fantasiestücke in Callots Manier, however, Hoffmann disavows musical examples, rewriting his Beethoven review without examples and creating a parodic notation to suggest the inability of citation to communicate musical effect.
Sign-in/Register to access full text options 
Free) 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a call
