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Recognizing music as an art form : Friedrich Th. Vischer and German music criticism, 1848-1887 /
"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 substantia...
| Clasificación: | Libro Electrónico |
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| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Leuven, Belgium :
Leuven University Press,
[2016]
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| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 100 | 1 | |a Titus, Barbara, |d 1973- |e author. | |
| 245 | 1 | 0 | |a Recognizing music as an art form : |b Friedrich Th. Vischer and German music criticism, 1848-1887 / |c Barbara Titus. |
| 264 | 1 | |a Leuven, Belgium : |b Leuven University Press, |c [2016] | |
| 264 | 4 | |c ©2016 | |
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| 520 | 8 | |a "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 | |
| 505 | 0 | |a Part I. The hegemony of idealist philosophy -- Thinking about art -- Thinking about music -- Part II. Between subjectivity and objectivity -- The bird among the arts -- The end of art -- Part III. Case studies -- Musical forms as 'Spiritualized material': Repositioning Eduard Hanslick -- Programme music: Franz Liszt's negotiation of Hegelian aesthetics -- Furthering a 'new form of consciousness': Franz Brendel's concept of a New German School -- 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. | |
| 504 | |a Includes bibliographical references and index. | ||
| 588 | 0 | |a Print version record. | |
| 590 | |a JSTOR |b Books at JSTOR Evidence Based Acquisitions | ||
| 590 | |a JSTOR |b Books at JSTOR All Purchased | ||
| 590 | |a JSTOR |b Books at JSTOR Demand Driven Acquisitions (DDA) | ||
| 600 | 1 | 0 | |a Vischer, Friedrich Theodor, |d 1807-1887. |
| 600 | 1 | 7 | |a Vischer, Friedrich Theodor, |d 1807-1887 |2 fast |
| 650 | 0 | |a Music |x Philosophy and aesthetics. | |
| 650 | 0 | |a Music |x History and criticism. | |
| 650 | 6 | |a Musique |x Philosophie et esthétique. | |
| 650 | 6 | |a Musique |x Histoire et critique. | |
| 650 | 7 | |a MUSIC |x Instruction & Study |x Theory. |2 bisacsh | |
| 650 | 7 | |a Music |2 fast | |
| 650 | 7 | |a Music |x Philosophy and aesthetics |2 fast | |
| 651 | 7 | |a Deutschland |2 gnd | |
| 655 | 7 | |a Criticism, interpretation, etc. |2 fast | |
| 776 | 0 | 8 | |i Print version: |a Titus, Barbara. |t Recognizing music as an art form. Friedrich Th. Vischer and German music criticism 1848-1887. |d Leuven : Leuven UP 2016 |z 9789462700550 |w (OCoLC)940673617 |
| 856 | 4 | 0 | |u https://jstor.uam.elogim.com/stable/10.2307/j.ctt1b9x1gm |z Texto completo |
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