Eduard Hanslick on Musical Beauty. The debate over the capacity of music to express non-musical ideas—which raged in the later nineteenth century between . Eduard Hanslick’s On the Musically Beautiful (Vom Musikalisch-SchÃ¶nen, ) , written and published before the author turned 30, is a. On The Musically Beautiful has 77 ratings and 11 reviews. “Like Hanslick, Professor Payzant is both musician and philosopher; and he has brought the.
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On The Musically Beautiful
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On The Musically Beautiful by Eduard Hanslick
Selected pages Title Page. Other editions – View all On the Musically Beautiful: A Contribution Towards the Revision of the Eduard HanslickGeoffrey Payzant No preview available – Common terms and phrases aesthetician aesthetics of music Aesthetik arouse artistic Asthetik der Tonkunst auditory autonomous Beautiful in Music Beethoven bewegte Formen bird song Chapter Cohen colour composer composition concept connection contemplation content of music dramatic edition Eduard Hanslick effects of music emotional Empfindungen expression F.
Vischer Franz Grillparzer German Gustav Cohen Hanslick’s book harmonic series harmony hearer ideal content ideas imagination impression instrumental music Johann Mattheson Kapellmeister Kunst Leipzig listener manifestations material means melody mental mind motion Mozart musical aesthetics musical artwork musical elements musically beautiful musician Musik Musikalisch-Schonen Musikalische nature nerves opera Otto Jahn overture painting particular passions Payzant philosophical physiological piece of music poetical poetry principle produces purely purpose of music regard relationships represent representation reprint rhythm Richard Wagner Robert Zimmermann sensation sense sensuous sonata song sound specific feeling specifically musical spirit symphony theme theory thesis tion tonal system tones translation words.
Popular passages Page 67 – The man that hath no music in himself, Nor is not moved with concord of sweet sounds, Is fit for treasons, stratagems and spoils; The motions of his spirit are dull as night And his affections dark as Erebus: Let no such man be trusted.
Page 9 – If we take this away, all that remains is an unspecific stirring, perhaps the awareness of a general state of nusically or distress. Love cannot be thought without the representation of a beloved person, without desire and striving after felicity, glorification and possession of a particular object.
Not some kind of mere mental agitation, but its conceptual core, its real, historical musicaoly, specifies this feeling of love. Accordingly, its musicaally can appear as readily gentle as stormy, as readily Page 28 – What kind of beauty is the beauty of a musical composition?
It is a specifically musical kind of beauty. By this we understand a beauty that is self-contained and in no need of content from outside itself, that consists simply and solely of tones and their artistic combination.
Our opinion regarding the seat of the intellectual and emotional elements of a musical composition stands in the same relation to the popular way of thinking as the idea of immanence does to that of transcendence. The object of every art is to clothe in pn material form an idea which has originated in the artist’s imagination. In music this idea is an acoustic one; it cannot be expressed in words and subsequently Page 64 – The most significant factor in the mental process which accompanies the comprehending of a musical work and makes it enjoyable will most frequently be overlooked.
Eduard Hanslick – Wikipedia
It is the mental satisfaction which the listener finds in continuously following and anticipating the composer’s designs, here to be confirmed in his expectations, there to be agreeably led By this we muscially that the beautiful is not contingent upon nor in need of any subject introduced from without, but that it consists wholly of sounds artistically combined. The ingenious coordination of intrinsically pleasing sounds, their consonance and contrast, their flight and reapproach, their increasing and diminishing strength— this it is which, in free and unimpeded forms, presents itself to our mental vision.
Page 28 – If now we ask what it is that should be expressed by means of this tone-material, the answer is musical ideas. But a musical idea brought into complete manifestation in appearance is already self-subsistent beauty; it is an end in itself, and it is in no way primarily a medium or material for the representation of feelings or conceptions. The content of music is tonally moving Beautifup 4 – Yet such hanslicck did not get far, because feeling is the indefinite dull region of the spirit; what is felt remains enveloped in the form of the most abstract individual subjectivity, and therefore differences between feelings are also completely abstract, not differences in the thing itself.
For example, fear, anxiety, alarm, terror are of course further modifications of one and the same sort of feeling, but in part they are only quantitative intensifications, in part just forms not affecting Eduard HanslickGeoffrey Payzant.