Musical aesthetics : a historical reader
Author(s)
Bibliographic Information
Musical aesthetics : a historical reader
（Aesthetics in music series, no. 4）
Pendragon Press, c1986-<c1990 >
- v. 1
- v. 2
- v. 3
Available at / 12 libraries
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Kwansei Gakuin University Library上ケ原
v. 1780.1:167:10001279512,
v. 2780.1:167:20001279538, v. 3780.1:167:30001279553 -
Library, Doshisha Women's College of Liberal Arts田
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Note
Includes bibliographies and indexes
Contents of Works
- v. 1. From antiquity to the eighteenth century
- v. 2. The nineteenth century
- v. 3. The twentieth century
Description and Table of Contents
- Volume
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v. 1 ISBN 9780918728418
Description
Musical aesthetics is concerned with the beauty and expressiveness of music, and in particular with properties of this kind as they are perceived by hearing. It designates a field of philosophic thought that arose in the West largely during the course of the 18th century, reached its maturity in the 19th century, and has been considerably enlarged and transformed in the 20th century. Although this is not to say that aesthetic concerns are absent at other times and places, yet the specific historical occurrence of a continuous and systematic area of investigation must obviously be distinguished from a universal but essentially implicit and undeveloped feature of human experience. Aestheticians have the most varied background imaginable; the definition of the field, diffuse as it is, is considerably more precise than the circumscription of its practitioners. As a glance at our List of Authors will reveal, these range from philosophers and scholars to critics and composers, with corresponding differences in the whole complexion of the ideas that are advanced and in their musical or intellectual sophistication.
Table of Contents
v. 1. From antiquity to the eighteenth century -- v. 2. The nineteenth century -- v. 3. The twentieth century.
- Volume
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v. 2 ISBN 9780918728906
Description
The second volume of this anthology of musical aesthetics proceeds from the rational, common-sense examination of the 18th-century artistic experience to the realm of 19th-century expressiveness. The rational foundation of aesthetics gave way to an emphasis on an art form's strength of feeling and expressive power, a purity of the creation and the creator. No longer confined to a restricted sense of beauty, music admitted the violent, the enormous and the ugly into its sphere of emotion, now the era of romanticism and Sturm und Drang. These developments are here detailed in the writings of Wackenroder, Herder, Thibaut, Schelling, Hegel, Schopenhauer, Kirkegaard, Wagner, Hanslick, Ambros, Nietzsche, Spencer, Gurney, and Haussegger. Through them we see the classical province of proportion, educated taste and contained expressiveness recede, and the emotional realism of music come to the fore.
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