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Recognizing music as an art form : Friedrich Th. Vischer and German music criticism, 1848-1887

Author: Barbara Titus
Publisher: Leuven (Belgium) : Leuven University Press, [2016] ©2016
Edition/Format:   Print book : EnglishView all editions and formats
Summary:
"Music's status as an art form was distrusted in the context of German idealist philosophy which exerted an unparalleled influence on the entire nineteenth century. Hegel insisted that the content of a work of art should be grasped in concepts in order to establish its spiritual substantiality (Geistigkeit), and that no object, word or image could accurately represent the content and meaning of a musical work. In  Read more...
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Genre/Form: Criticism, interpretation, etc
Named Person: Friedrich Theodor Vischer; Friedrich Theodor Vischer; Friedrich Theodor von Vischer
Document Type: Book
All Authors / Contributors: Barbara Titus
ISBN: 9789462700550 9462700559
OCLC Number: 940673617
Description: 270 pages ; 24 cm
Contents: Part I. The Hegemony of Idealist Philosophy: Chapter One. Thinking about Art ; Chapter Two. Thinking about Music --
Part II. Between Subjectivity and Objectivity: Chapter Three. The Bird among the Arts ; Chapter Four. The End of Art --
Part III. Case Studies: Chapter Five. Musical Forms as 'Spiritualized Material': Repositioning Eduard Hanslick ; Chapter Six. Programme Music: Franz Liszt's Negotiation of Hegelian Aesthetics ; Chapter Seven. Furthering a 'New Form of Consciousness': Franz Brendel's Concept of a New German School ; Chapter Eight. The Advance of Musical Scholarship --
Epilogue: Deconceptualizing Music/ology --
Appendix I. Hegelian glossary --
Appendix II. Editions and translations --
Appendix III. Manuscript sources --
Appendix IV. Music criticism and idealist discourse --
Appendix: References to Vischer in music periodicals and treatises.
Responsibility: Barbara Titus.

Abstract:

"Music's status as an art form was distrusted in the context of German idealist philosophy which exerted an unparalleled influence on the entire nineteenth century. Hegel insisted that the content of a work of art should be grasped in concepts in order to establish its spiritual substantiality (Geistigkeit), and that no object, word or image could accurately represent the content and meaning of a musical work. In the mid-nineteenth century, Friedrich Theodor Vischer and other Hegelian aestheticians kept insisting on art's conceptual clarity, but they adapted the aesthetic system on which this requirement had been based. Their adaptations turned out to be decisive for the development of music criticism, to such an extent that music critics used them to point out musical content and to confirm music' s autonomy as an art form. This book unravels the network of music critics and philosophers, including not only Hegel but also Franz Liszt, Franz Brendel, and Eduard Hanslick, whose works shaped public opinions of music."--Publisher's description.

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