Nicholas Cook
- Published in print:
- 2007
- Published Online:
- September 2008
- ISBN:
- 9780195170566
- eISBN:
- 9780199871216
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195170566.003.0002
- Subject:
- Music, Ethnomusicology, World Music
Basic aspects of Schenker's later thought can be traced to the 1890s, when Schenker was active in composition, performance, and music criticism. This chapter situates these activities in the ...
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Basic aspects of Schenker's later thought can be traced to the 1890s, when Schenker was active in composition, performance, and music criticism. This chapter situates these activities in the contemporary Viennese context, emphasizing the relationship between Schenker and Eduard Hanslick. It outlines aspects of the idealist philosophy which coloured his thinking and criticizes recent approaches to the philosophical dimension of Schenker's thought. It traces the changes in Schenker's thinking about music — and in particular the concept of musical “logic” — that underpinned the development of his later theory. Much of the discussion is focussed round his early essay “The spirit of musical technique’ (1895), a new translation of which (by William Pastille) is included as an appendix.Less
Basic aspects of Schenker's later thought can be traced to the 1890s, when Schenker was active in composition, performance, and music criticism. This chapter situates these activities in the contemporary Viennese context, emphasizing the relationship between Schenker and Eduard Hanslick. It outlines aspects of the idealist philosophy which coloured his thinking and criticizes recent approaches to the philosophical dimension of Schenker's thought. It traces the changes in Schenker's thinking about music — and in particular the concept of musical “logic” — that underpinned the development of his later theory. Much of the discussion is focussed round his early essay “The spirit of musical technique’ (1895), a new translation of which (by William Pastille) is included as an appendix.
Mark Evan Bonds
- Published in print:
- 2014
- Published Online:
- June 2014
- ISBN:
- 9780199343638
- eISBN:
- 9780199373437
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199343638.003.0010
- Subject:
- Music, History, Western
Hanslick’s Vom Musikalisch-Schönen (1854) addresses all of the qualities—expression, beauty, form, autonomy, disclosiveness—that had for so long played a central role in discussions about the ...
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Hanslick’s Vom Musikalisch-Schönen (1854) addresses all of the qualities—expression, beauty, form, autonomy, disclosiveness—that had for so long played a central role in discussions about the relationship between music’s essence and effect. Its title places autonomy (Musikalisch-) and beauty (-Schönen) at the center of his conception of music. The primary “contribution to the revision of musical aesthetics” promised in the subtitle is the separation of music’s effect from an account of music’s essence. Music’s sole content, according to the treatise’s most famous and often-quoted phrase, consists of tönend bewegte Formen, forms set in motion through musical tones. The treatise is by turns conventional, radical, and ambivalent. The original ending, deleted incrementally over the next two editions, is especially revealing of Hanslick’s conflicted thinking about the relationship of music’s essence and effect.Less
Hanslick’s Vom Musikalisch-Schönen (1854) addresses all of the qualities—expression, beauty, form, autonomy, disclosiveness—that had for so long played a central role in discussions about the relationship between music’s essence and effect. Its title places autonomy (Musikalisch-) and beauty (-Schönen) at the center of his conception of music. The primary “contribution to the revision of musical aesthetics” promised in the subtitle is the separation of music’s effect from an account of music’s essence. Music’s sole content, according to the treatise’s most famous and often-quoted phrase, consists of tönend bewegte Formen, forms set in motion through musical tones. The treatise is by turns conventional, radical, and ambivalent. The original ending, deleted incrementally over the next two editions, is especially revealing of Hanslick’s conflicted thinking about the relationship of music’s essence and effect.
Peter Kivy
- Published in print:
- 2009
- Published Online:
- May 2009
- ISBN:
- 9780199562800
- eISBN:
- 9780191721298
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199562800.003.0003
- Subject:
- Philosophy, Aesthetics
Eduard Hanslick's ‘little book’ (as he called it), Vom Musikalisch-Schönen, has become, in recent years, a text celebre among those philosophers who began, not too long ago, to interest themselves in ...
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Eduard Hanslick's ‘little book’ (as he called it), Vom Musikalisch-Schönen, has become, in recent years, a text celebre among those philosophers who began, not too long ago, to interest themselves in the special problems that music might present to their subject. Standing alone as the inaugural work in the history of musical formalism as a philosophical position, Hanslick's little book has received close scrutiny in recent years by a number of aestheticians. But viewed it the light of Wilhelm August Ambros's ‘answer’ another ‘little book’, entitled Der Grenzen der Musik und Poesie: Eine Studie zur Aesthetik der Tonkunst, provides a better idea of its philosophical significance. In light of Ambros's critique of Hanslick, this chapter explores what Hanslick had to say.Less
Eduard Hanslick's ‘little book’ (as he called it), Vom Musikalisch-Schönen, has become, in recent years, a text celebre among those philosophers who began, not too long ago, to interest themselves in the special problems that music might present to their subject. Standing alone as the inaugural work in the history of musical formalism as a philosophical position, Hanslick's little book has received close scrutiny in recent years by a number of aestheticians. But viewed it the light of Wilhelm August Ambros's ‘answer’ another ‘little book’, entitled Der Grenzen der Musik und Poesie: Eine Studie zur Aesthetik der Tonkunst, provides a better idea of its philosophical significance. In light of Ambros's critique of Hanslick, this chapter explores what Hanslick had to say.
Mark Evan Bonds
- Published in print:
- 2014
- Published Online:
- June 2014
- ISBN:
- 9780199343638
- eISBN:
- 9780199373437
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199343638.001.0001
- Subject:
- Music, History, Western
What we think music is shapes how we hear it. This book traces the history of the idea of pure—“absolute”—music from Pythagoras to the present, with special emphasis on efforts to reconcile the ...
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What we think music is shapes how we hear it. This book traces the history of the idea of pure—“absolute”—music from Pythagoras to the present, with special emphasis on efforts to reconcile the irreducible essence of the art with its profound effects on the human spirit.
The core of this study focuses on the period 1850–1935, beginning with the collision between Richard Wagner and the Viennese critic Eduard Hanslick. Wagner, who coined the term “absolute music” in 1846, used it as a pejorative in his efforts to expose the limitations of purely instrumental music. For him, music that was “absolute” was isolated, detached from the world, sterile. Hanslick considered this quality of isolation a guarantor of purity: music could be understood only in terms of itself.
Hanslick had few followers among musicians during his lifetime (1825–1904). By 1920, however, absolute music was being endorsed by leading modernists, including both Schoenberg and Stravinsky. The key impetus for this change came from discourse not about music but rather about the visual arts. The growing prestige of abstraction and form in painting at the turn of the twentieth century helped move the idea of purely abstract, absolute music to the cutting edge of musical modernism.Less
What we think music is shapes how we hear it. This book traces the history of the idea of pure—“absolute”—music from Pythagoras to the present, with special emphasis on efforts to reconcile the irreducible essence of the art with its profound effects on the human spirit.
The core of this study focuses on the period 1850–1935, beginning with the collision between Richard Wagner and the Viennese critic Eduard Hanslick. Wagner, who coined the term “absolute music” in 1846, used it as a pejorative in his efforts to expose the limitations of purely instrumental music. For him, music that was “absolute” was isolated, detached from the world, sterile. Hanslick considered this quality of isolation a guarantor of purity: music could be understood only in terms of itself.
Hanslick had few followers among musicians during his lifetime (1825–1904). By 1920, however, absolute music was being endorsed by leading modernists, including both Schoenberg and Stravinsky. The key impetus for this change came from discourse not about music but rather about the visual arts. The growing prestige of abstraction and form in painting at the turn of the twentieth century helped move the idea of purely abstract, absolute music to the cutting edge of musical modernism.
Holly Watkins
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780226594705
- eISBN:
- 9780226594842
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226594842.003.0003
- Subject:
- Music, Philosophy of Music
Chapter 2, “Formalism’s Flower,” elaborates on the theme of form as it appears in two key contributions to the aesthetics of natural beauty and musical beauty: Immanuel Kant’s Critique of Judgment ...
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Chapter 2, “Formalism’s Flower,” elaborates on the theme of form as it appears in two key contributions to the aesthetics of natural beauty and musical beauty: Immanuel Kant’s Critique of Judgment and Eduard Hanslick’s On the Musically Beautiful. In keeping with the current interest among environmental philosophers in remedying the nearly exclusive focus of post-Kantian aesthetics on the human arts, the chapter examines how Kant’s and Hanslick’s reflections on beauty highlight the formal and experiential ground shared by music and nature, ground that neither thinker explored in detail. The chapter develops conceptual strategies in which aspects of form and beauty serve to illustrate processual and dynamic features of both music and nature, strategies that guide the ensuing discussion of arabeske and its musical analogues. As a decorative art in which the mimesis of vegetal forms and energies is crossbred with human geometrical precision, arabeske points the way toward a naturalistic music criticism that nonetheless remains focused on the peculiarities of its chosen art, as the chapter shows in an analysis of Robert Schumann’s Arabeske, op. 18 (1839) for solo piano.Less
Chapter 2, “Formalism’s Flower,” elaborates on the theme of form as it appears in two key contributions to the aesthetics of natural beauty and musical beauty: Immanuel Kant’s Critique of Judgment and Eduard Hanslick’s On the Musically Beautiful. In keeping with the current interest among environmental philosophers in remedying the nearly exclusive focus of post-Kantian aesthetics on the human arts, the chapter examines how Kant’s and Hanslick’s reflections on beauty highlight the formal and experiential ground shared by music and nature, ground that neither thinker explored in detail. The chapter develops conceptual strategies in which aspects of form and beauty serve to illustrate processual and dynamic features of both music and nature, strategies that guide the ensuing discussion of arabeske and its musical analogues. As a decorative art in which the mimesis of vegetal forms and energies is crossbred with human geometrical precision, arabeske points the way toward a naturalistic music criticism that nonetheless remains focused on the peculiarities of its chosen art, as the chapter shows in an analysis of Robert Schumann’s Arabeske, op. 18 (1839) for solo piano.
Michael Haas
- Published in print:
- 2013
- Published Online:
- October 2013
- ISBN:
- 9780300154306
- eISBN:
- 9780300154313
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300154306.003.0004
- Subject:
- Music, History, Western
This chapter examines the conditions of Jewish composers during the age of liberalism, Johannes Brahms, and music critic Eduard Hanslick, discussing Brahms's association with the Liberal Party and ...
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This chapter examines the conditions of Jewish composers during the age of liberalism, Johannes Brahms, and music critic Eduard Hanslick, discussing Brahms's association with the Liberal Party and highlighting the fact that he was accused of philo-Semitism in the German nationalist press. It also considers the work of Jewish pianist Ferdinand Hiller and how the musical triumvirate of Karl Goldmark, Hanslick, and Brahms evolved an amalgam of values in which both the purity of art and the purity of German musical traditions merged.Less
This chapter examines the conditions of Jewish composers during the age of liberalism, Johannes Brahms, and music critic Eduard Hanslick, discussing Brahms's association with the Liberal Party and highlighting the fact that he was accused of philo-Semitism in the German nationalist press. It also considers the work of Jewish pianist Ferdinand Hiller and how the musical triumvirate of Karl Goldmark, Hanslick, and Brahms evolved an amalgam of values in which both the purity of art and the purity of German musical traditions merged.
Mark Evan Bonds
- Published in print:
- 2014
- Published Online:
- June 2014
- ISBN:
- 9780199343638
- eISBN:
- 9780199373437
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199343638.003.0012
- Subject:
- Music, History, Western
Armed with new nouns that aligned philosophical concepts with specific repertories, critics debated the superiority of absolute and program music in a spirit of intense partisanship throughout the ...
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Armed with new nouns that aligned philosophical concepts with specific repertories, critics debated the superiority of absolute and program music in a spirit of intense partisanship throughout the second half of the nineteenth century. As in ideological disputes of all kinds, each party tended to misrepresent the other’s views. Self-styled progressives routinely described the “forms” of absolute music as “rigid,” “rule-bound,” and “outmoded,” while self-styled traditionalists dismissed program music as inherently “formless” and “unmusical.” Such differences reflected more than simply a contrast of aesthetic outlooks, for the debate about music was part of a larger culture war in a period of enormous social, political, and technological change. One side perceived the arts as an instrument of reform, while the other perceived them as a refuge of stability from those same forces of change.Less
Armed with new nouns that aligned philosophical concepts with specific repertories, critics debated the superiority of absolute and program music in a spirit of intense partisanship throughout the second half of the nineteenth century. As in ideological disputes of all kinds, each party tended to misrepresent the other’s views. Self-styled progressives routinely described the “forms” of absolute music as “rigid,” “rule-bound,” and “outmoded,” while self-styled traditionalists dismissed program music as inherently “formless” and “unmusical.” Such differences reflected more than simply a contrast of aesthetic outlooks, for the debate about music was part of a larger culture war in a period of enormous social, political, and technological change. One side perceived the arts as an instrument of reform, while the other perceived them as a refuge of stability from those same forces of change.
Holly Watkins
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780226594705
- eISBN:
- 9780226594842
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226594842.003.0006
- Subject:
- Music, Philosophy of Music
Chapter 5, “Music Between Reaction and Response,” evaluates music’s capacity to thwart conceptions of the human based on the sovereign power of rationality. Music’s ability to blur the boundaries ...
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Chapter 5, “Music Between Reaction and Response,” evaluates music’s capacity to thwart conceptions of the human based on the sovereign power of rationality. Music’s ability to blur the boundaries between human and nonhuman bodies has long been recognized, as two Greek myths attest: Orpheus made music that inspired human-like attention in animals, trees, and stones, while the Sirens reduced passing sailors to the level of animals incapable of resisting their song. Recast in terms employed by Jacques Lacan and criticized by Jacques Derrida, these myths portray music as calling forth a response in creatures thought merely able to react and, contrariwise, stripping away the capacity for response in humans, leaving nothing but reaction in its place. The chapter revisits eighteenth- and nineteenth-century commentaries by the philosophers and critics Johann Georg Sulzer, Johann Gottfried Herder, and Eduard Hanslick in order to illuminate persistent anxieties over the admixture of reaction and response in musical listening. Addressing more recent studies in music perception and ethology, the chapter weaves research on the physiological reactions involved in musical responsiveness into a philosophical perspective on the expressiveness of sound that accommodates the communicative arts of both humans and animals.Less
Chapter 5, “Music Between Reaction and Response,” evaluates music’s capacity to thwart conceptions of the human based on the sovereign power of rationality. Music’s ability to blur the boundaries between human and nonhuman bodies has long been recognized, as two Greek myths attest: Orpheus made music that inspired human-like attention in animals, trees, and stones, while the Sirens reduced passing sailors to the level of animals incapable of resisting their song. Recast in terms employed by Jacques Lacan and criticized by Jacques Derrida, these myths portray music as calling forth a response in creatures thought merely able to react and, contrariwise, stripping away the capacity for response in humans, leaving nothing but reaction in its place. The chapter revisits eighteenth- and nineteenth-century commentaries by the philosophers and critics Johann Georg Sulzer, Johann Gottfried Herder, and Eduard Hanslick in order to illuminate persistent anxieties over the admixture of reaction and response in musical listening. Addressing more recent studies in music perception and ethology, the chapter weaves research on the physiological reactions involved in musical responsiveness into a philosophical perspective on the expressiveness of sound that accommodates the communicative arts of both humans and animals.
David Brodbeck
- Published in print:
- 2014
- Published Online:
- October 2014
- ISBN:
- 9780199362707
- eISBN:
- 9780199362721
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199362707.001.0001
- Subject:
- Music, History, Western, Theory, Analysis, Composition
Defining Deutschtum: Political Ideology, German Identity, and Music-Critical Discourse in Liberal Vienna Defining Deutschtum offers a nuanced look at the intersection of music, cultural identity, and ...
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Defining Deutschtum: Political Ideology, German Identity, and Music-Critical Discourse in Liberal Vienna Defining Deutschtum offers a nuanced look at the intersection of music, cultural identity, and political ideology in Liberal Vienna by examining music-critical writing about Carl Goldmark, Antonín Dvořák, and Bedřich Smetana, three notable composers of the day who were Austrian citizens but not ethnic Germans. Vienna’s critics are treated here as agents within the public sphere whose writing gave voice to distinct ideological positions on the question of who could be deemed “German” in the multinational Austrian state. Historian Pieter M. Judson’s perspective on Austro-German liberalism as an evolving but always exclusionary ideology provides a suggestive approach to interpreting this music-critical discourse. For Eduard Hanslick and Ludwig Speidel, German liberal nationalists who came of age around 1848, Germanness was theoretically available to any ambitious Bürger, including Jews and those of non-German nationality, who professed German cultural values. The national liberalism that characterized the work of the younger Theodor Helm was an outgrowth of the tensions between Germans and Czechs that first flared up in the 1860s. Later came a new generation of Wagnerian critics whose racialist antisemitism and irredentist German nationalism reflected the radical student politics of the 1880s. The critical reception of the three composers in question reveals a continuum of exclusivity, from a conception of Germanness rooted in social class and cultural elitism to one based in blood. The book thus offers insight into how educated German Austrians conceived of Germanness in music and understood their relationship to the “non-Germans” in their midst.Less
Defining Deutschtum: Political Ideology, German Identity, and Music-Critical Discourse in Liberal Vienna Defining Deutschtum offers a nuanced look at the intersection of music, cultural identity, and political ideology in Liberal Vienna by examining music-critical writing about Carl Goldmark, Antonín Dvořák, and Bedřich Smetana, three notable composers of the day who were Austrian citizens but not ethnic Germans. Vienna’s critics are treated here as agents within the public sphere whose writing gave voice to distinct ideological positions on the question of who could be deemed “German” in the multinational Austrian state. Historian Pieter M. Judson’s perspective on Austro-German liberalism as an evolving but always exclusionary ideology provides a suggestive approach to interpreting this music-critical discourse. For Eduard Hanslick and Ludwig Speidel, German liberal nationalists who came of age around 1848, Germanness was theoretically available to any ambitious Bürger, including Jews and those of non-German nationality, who professed German cultural values. The national liberalism that characterized the work of the younger Theodor Helm was an outgrowth of the tensions between Germans and Czechs that first flared up in the 1860s. Later came a new generation of Wagnerian critics whose racialist antisemitism and irredentist German nationalism reflected the radical student politics of the 1880s. The critical reception of the three composers in question reveals a continuum of exclusivity, from a conception of Germanness rooted in social class and cultural elitism to one based in blood. The book thus offers insight into how educated German Austrians conceived of Germanness in music and understood their relationship to the “non-Germans” in their midst.
Mark Evan Bonds
- Published in print:
- 2014
- Published Online:
- June 2014
- ISBN:
- 9780199343638
- eISBN:
- 9780199373437
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199343638.003.0013
- Subject:
- Music, History, Western
During the closing decades of the nineteenth century, the polemics between advocates of absolute and program music began to lose steam. The two sides continued to clash, but without the fervor that ...
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During the closing decades of the nineteenth century, the polemics between advocates of absolute and program music began to lose steam. The two sides continued to clash, but without the fervor that had characterized the debate in earlier decades. A new generation of composers and critics was inclined to accept the legitimacy of absolute and program music alike. Those who began their careers after 1880 tended to adopt a less polarizing attitude to explain the relationship between music’s essence and its effect. At the end of the century, relatively few subscribed to the idea that one repertory belonged to the past and the other to the future. The rhetoric of exclusion gradually gave way to one of tolerance.Less
During the closing decades of the nineteenth century, the polemics between advocates of absolute and program music began to lose steam. The two sides continued to clash, but without the fervor that had characterized the debate in earlier decades. A new generation of composers and critics was inclined to accept the legitimacy of absolute and program music alike. Those who began their careers after 1880 tended to adopt a less polarizing attitude to explain the relationship between music’s essence and its effect. At the end of the century, relatively few subscribed to the idea that one repertory belonged to the past and the other to the future. The rhetoric of exclusion gradually gave way to one of tolerance.
Philip Brett
- Published in print:
- 2006
- Published Online:
- May 2012
- ISBN:
- 9780520246096
- eISBN:
- 9780520939127
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520246096.003.0011
- Subject:
- Music, History, Western
This chapter inquires into the cause for the conspicuous absence of erotic portrayal through music based on the theory propounded by Eduard Hanslick in his work On The Musically Beautiful (1854). It ...
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This chapter inquires into the cause for the conspicuous absence of erotic portrayal through music based on the theory propounded by Eduard Hanslick in his work On The Musically Beautiful (1854). It seeks to assert the intrinsic value of music as opposed to the Aristotlean theory of imitation of nature by art. Hanslick asserts that rather than slavishly imitate nature, music should transform it. He envisages a balance in the instrumental nature of music rather than absolutely negating or rejecting it. By declaring that music does not consider “the beautiful in nature,” Hanslick renders music as superior to other arts relevant to the Age of Progress. To this end, Beethoven's abstract musical is deemed superior to his An die ferne Geliebte (To the Distant Beloved), due to the absence of specificity in the former, which enhances the scope of yearning at the center of Romanticism.Less
This chapter inquires into the cause for the conspicuous absence of erotic portrayal through music based on the theory propounded by Eduard Hanslick in his work On The Musically Beautiful (1854). It seeks to assert the intrinsic value of music as opposed to the Aristotlean theory of imitation of nature by art. Hanslick asserts that rather than slavishly imitate nature, music should transform it. He envisages a balance in the instrumental nature of music rather than absolutely negating or rejecting it. By declaring that music does not consider “the beautiful in nature,” Hanslick renders music as superior to other arts relevant to the Age of Progress. To this end, Beethoven's abstract musical is deemed superior to his An die ferne Geliebte (To the Distant Beloved), due to the absence of specificity in the former, which enhances the scope of yearning at the center of Romanticism.
Kyle Gann
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9780252040856
- eISBN:
- 9780252099366
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252040856.003.0002
- Subject:
- Music, History, American
At the time Ives began the Concord, program music (music that implicitly referred to or musical described historical or literary narratives) was still somewhat controversial. The prologue of Essays ...
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At the time Ives began the Concord, program music (music that implicitly referred to or musical described historical or literary narratives) was still somewhat controversial. The prologue of Essays Before a Sonata takes up the topic of program music and reveals Ives’s erudite understanding of its previous history. It also reveals his indebtedness to a minor English Hegelian philosopher named Henry Sturt, who has never before been covered in the Ives literature.Less
At the time Ives began the Concord, program music (music that implicitly referred to or musical described historical or literary narratives) was still somewhat controversial. The prologue of Essays Before a Sonata takes up the topic of program music and reveals Ives’s erudite understanding of its previous history. It also reveals his indebtedness to a minor English Hegelian philosopher named Henry Sturt, who has never before been covered in the Ives literature.
