By Barbara Titus
The influence of Hegelian philosophy on 19th-century song criticism
Music’s prestige as an artwork shape used to be distrusted within the context of German idealist philosophy which exerted an exceptional impression at the whole 19th century. Hegel insisted that the content material of a piece of artwork will be grasped in ideas in an effort to identify its non secular substantiality (Geistigkeit), and that no item, observe or photo might appropriately signify the content material and that means of a musical paintings. within the mid-nineteenth century, Friedrich Theodor Vischer and different Hegelian aestheticians stored insisting on art's conceptual readability, yet they tailored the classy procedure on which this requirement have been dependent. Their diversifications grew to become out to be decisive for the improvement of track feedback, to such an quantity that track critics used them to show musical content material and to verify music’s autonomy as an artwork shape. This ebook unravels the community of track critics and philosophers, together with not just Hegel but additionally Franz Liszt, Franz Brendel, and Eduard Hanslick, whose works formed public reviews of track
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Extra info for Recognizing Music as an Art Form: Friedrich Th. Vischer and German Music Criticism, 1848-1887
12 for example in his Philosophie der neuen Musik: ‘Die Isolierung der radikalen modernen Musik rührt nicht von ihrem asozialen, sondern ihrem sozialen Gehalt her, indem sie durch ihre reine Qualität und um so nachdrücklicher, je reiner sie diese hervortreten läßt, aufs gesellschaftliche Unwesen deutet, anstatt es in den Trug der Humanität als einer schon gegenwärtigen zu verflüchtigen. ’ (Adorno 1958, 124-125) [The isolation of radical glossy song doesn't stem from an anti-social nature, yet from a social substantiality: instead of volatilizing the disarray of society into the misleading trust of an already current humanity, it shows this disarray via its natural caliber, which turns into extra emphatic because it turns into purer. ] 156 half iii – case experiences larger destiny. Vischer’s feedback from the Vormärz interval finds, besides the fact that, that Karl Marx used to be just one protagonist of a way more normal Hegelian present which manifested itself in aesthetics up to in political concept. Brendel used to be one of many extra influential song critics to use this fashion of considering to track. He preached the benefits of a musical avant-garde, turning the outdated Christian photo of the shepherd guiding his flock right into a precondition for extra improvement. Modernist song feedback of the 20 th century could were unthinkable with out this. bankruptcy 8 the development of Musical Scholarship highbrow Self-Confidence Bis zur Gegenwart herab hat die Tonkunst unter den Musen der bildenden Künste und schönen Literatur das Los eines Aschenbrödels zu tragen gehabt. Die Philosophen, Kulturforscher, Historiker, Volkswirtschaftslehrer und Statistiker, denen allen sie zu denken und zu raten geben möchte, wußten mit der tönenden Sphinx nichts anzufangen. Sie ließen sie deshalb auf sich beruhen. – Selbst ein Kunstphilosoph wie Fr. Vischer überantwortete dem Tübinger Professor okay. Köstlin die Aufgabe, sein großes Lehrsystem der Ästhetik durch kongeniale Bearbeitung des musikalischen Teiles zu ergänzen (Meinardus 1888, 1). i T hus starts off Ludwig Meinardus’s publication in regards to the historical past of German tune. expert as a composer, Meinardus (1827-1896) made a reputation for himself along with his profitable oratorio Luther in Worms (1876). His anti-Wagnerian writings and reports have been hugely revered too, even though he a little marginalized himself within the more and more different box of musical aesthetics via always antagonising his colleagues. He was once, however, effective and recent at the aesthetic, severe and track theoretical advancements of his time: he contributed to the Neue Zeitschrift für Musik, the Deutsche MusikZeitung, and his autobiography of 1872 includes invaluable information regarding modern musical existence, composers and musicians. within the later 19th century, the mainstream of the musico-intellectual discourse was once more and more ruled by means of humans equivalent to Meinardus: diligent track biographers and track theorists trying to intrude within the debate on aesthetic matters that prompted common considering tune.