Music in European Thought 1851–1912

431 Pages·1988·24.573 MB·English

by  Bojan Bujic (editor)

Contents
Preface pagexi
Acknowledgments xvii
Listofabbreviations xviii
Generalintroduction 1
Part1:Germanaestheticsofmusicinthesecondhalfofthe
nineteenthcentury
1.1 Musicasanautonomousbeing
l
\
Introduction l
\
E.Hanslick, VomMusikalisch—Schonen (1854)
R.Zimmermann,AllgemeineAesthetikalsFormwissenschaft
(I865) 40
1.2 Musicasanexpressiveforce SI
Introduction 51
R.Wagner, OperandDrama (1851)
R.Wagner,‘Beethoven’ (1870) 65
A.W.Ambros,DieGrenzenderMusik andPoesie(1855) 76
F.T.Vischer,AesthetikOder WissenschaftdesSchonen (1857) 82
G. G. Gervinus,HandelandShakespeare (1868) 90
F.Nietzsche,DieGeburtderTrago'die (1872)
F.Nietzsche,DerFallWagner(1888) 103
F.vonHausegger,DieMusilzalsAusdruck (I885) 108
H. Kretzschmar, ‘AnregungenzurForderungmusikalischer
Hermeneutik’from[ahrbuch derMusikbibliotbekPeters
(1903) 114
P.Mics, UberdieTonmalerei(1912) 121
1.3 Theeclectictendency 126
Introduction 12.6
F.Brendel,‘DieAesthetikderTonkunst’ fromNeueZeitscbriftfiir
Musik (1857) 129
O. Hostinsky’l,DasMusikaliscb-Scho'neunddasGesamtkunstwerk
(I877) I32
H.A. Késtlin,DieTonkunst(I879) 152
G.E.Engel,AesthetikderTonkunst(1884) 159
E.vonHartmann,PhilosopbiedesSchonen (1887) 165
vii
viii Contents
Part2:AestheticsofmusicinFranceandEngland
2.1 France I79
2.1.I Generalworks I79
Introduction
I79
C. Beauquier,Philosophiedelamusique (I865) 182
J. Combarieu,Lesrapportsdelamusiqueetdelapoésie(1894) I97
J. Combarieu,Lamusique,seslois, sonevolution (1907) 210
C. Lalo,Esquissed’uneesthe’tiquemusicalescientifique(I908) 216
2.1.2. TheimpactofWagner 22.2
Introduction . 22.2
H.Berlioz,‘ConcertsdeRichardWagner’ fromJournaldesde’bats
(1860) 2.27
C. Baudelaire, ‘RichardWagneret Tannha'useraParis’fromRevue
européenne(1861) 7-33
ExtractsfromRevuewagnérienne: 2.42.
S.Mallarmé,‘RichardWagner,réveried’unpoétefrancais’ (I885) 242
T. deWyzéwa,‘Lamusiquedescriptive’ (I885) 247
T.deWyzéwa,‘Notessurlamusiquewagnérienne’ (1886) 2.51
E. Hennequin, ‘L’esthétiquedeWagneretladoctrine
spencérienne’ (1885) 256
2.2 England 2.60
Introduction 260
E. Gurney, Thepowerofsound(I880) 2.63
Part3:Musicandpositivistthought
3.1 PsychologyofmusicandthetheoryofEinfiiblung(empathy) 2'75
Introduction
7-75
H.vonHelmholtz,DieLehrevonden Tonempfindungen(I863) 280
G.T.Fechner, VorschulederAesthetik (1876) 284
E. Gurney, Thepowerofsound(I880) 292
C. Stumpf,Tonpsychologie(I883)
294
T. Lipps,Asthetik (1903)
299
3.2 Theoriesandspeculationabouttheoriginofmusic 305
Introduction 305
H. Spencer, ‘Theoriginandfunctionofmusic’fromFraser’s
Magazine(1857) 309
C.Darwin, Thedescentofman (I871) 315
C.Darwin, Theexpressionoftheemotionsinmanandanimals
(I872) 320
R.Wallaschek,Primitivemusic (I893) 32.2.
K.Biicher,ArbeitundRhythmus (I896) 37-7
C. Stumpf,DieAnfa'ngederMusik (1911) 334
Contents ix
Part4:Bridgebetweenmusictheoryandphilosophyandthe
beginningsofmusicologyasanindependentdiscipline
Introduction 341
F. Chrysander, ‘VorwortundEinleitung’ fromJahrbiicherfiir
musikalische Wissenschaft (I863) 34s
G.Adler,‘Umfang,MethodeundZielderMusikwissenschaft’from
VierteljahrsschriftffirMusikwissensc/oaft(I885) 348
H.Riemann, Wieho'renwirMusik? (I888) 356
H.Schenker,Harmonielehre (1906) 359
Part5:Newtendenciesattheturnofthecentury
Introduction 365
5.I Historicalunderstanding 370
W.Dilthey,‘DasmusikalischeVerstehen’ (c. 1906) 370
W.Dilthey, ‘Mozart’ (6. I906) 375
5.2 CriticistnofthetheoryofEinffihlung
379
M.Dessoir,Asthetikundallgemez'neKunstwissenscbaft(19.06) 379
5.3 Thepastandthefutureofmusic 388
F.Busoni,EntwurfeinerneuenAesthetik derTonkunst(1907) 388
Selectbibliography 395
Index 408
Preface
Not unlike a compiler of a dictionary, an editor of an anthology may easily
become haunted by the feeling that the more he gathers in, the more material
still remains outside his grasp. Any period of intellectual history, if it is to be
documented exhaustively and meaningfully, requires that attention be paid
to a variety of personalities and works and not only to the thought of the most
distinguished intellectual lights of the time. Numerous lesser figures who
often voiced short-lived though urgent concerns of a small intellectual com-
munity, followers of a belief, belligerents in critical disputes - all should have
their say. Such a complexity of critical and philosophical themes is easy to
recognize in any age but is exceedingly difficult to document. It may therefore
sound like a veiled admission of defeat if at the outset I say that it is not the
aim of this volume to paint a complete picture, but rather to offer a repre-
sentative sample of some of the main tendencies in the aesthetics of music
during the second half of the nineteenth century.
In chronological terms the volume succeeds Peter le Huray's and James
Day's Music and aesthetics in the eighteenth and early-nineteenth centuries.
The accent is on the material from the second half of the nineteenth century
and the first decade or so of the twentieth century which in its themes and
concerns still belongs to the intellectual currents of the preceding one.
Whereas le Huray and Day felt able to construct their Music and aesthetics
around the concept of romanticism as a unifying factor of an extended
period, such a central theme is lacking in the second half of the century. A
style or an artistic trend in the making initially acts cohesively and draws to
the central current a wealth of individual concerns. The full maturity, if a
notion of such neat flow can at all be accepted as a historical norm, brings to
the fore the feeling of fragmentation and parting of ways. Assuming a
threefold division into the nascent, classical and declining phase of romantic-
ism, Ernst Kurth saw the transition into the last phase as a long-drawn crisis,
the examples of which were for him provided by Wagner and Tristan und
Isolde.* More recently H. G. Schenk, Nietzsche's spirit peeping over his
shoulder, identified 'a histrionic element in Wagner' which to him suggested
'a perversion or even a travesty of Romanticism'.2" Carl Dahlhaus put it
1 Ernst Kurth, Rotnantische Harmonik und ihre Krise in Wagners 'Tristan' (Berlin
1920).
z H. G. Schenk, The Mind of the European Romantics (London 1966), p. 212.
xi