A History of Western Musical AestheticsAmong the fine arts music has always held a paramount position. "Musical training is a more potent instrument than any other, because rhythm and harmony find their way into the inward places of the soul, " wrote Plato. From the "music of the spheres" of Pythagoras to the "Future Music" of Wagner, from churches, courts, cathedrals, and concert halls to amateur recitals, military marches, and electronic records, music has commanded the perpetual attention of every civilization in history. This book follows through the centuries the debates about the place and function of music, the perceived role of music as a good or bad influence on the development of character, as a magical art or a domestic entertainment, and as a gateway to transcendental truths. Edward Lippman describes the beginnings of musical tradition in the myths and philosophies of antiquity. He shows how music theory began to take on new dimensions and intensity in the seventeenth century, how musical aesthetics was specifically defined and elaborated in the eighteenth century, and how, by the nineteenth century, music became the standard by which other arts were judged. The twentieth century added problems, pressure, and theories as music continued to diversify and as cultures viewed each other with more respect. |
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Contents
Harmonic and Ethical Views | 3 |
THE EMERGENCE OF AESTHETIC ISSUES | 17 |
Music as a Fine Art | 19 |
Expression and Rhetoric | 26 |
SeventeenthCentury Views of Opera | 42 |
THE EIGHTEENTH CENTURY | 57 |
Galant Aesthetics | 59 |
Imitation and Expression | 83 |
Formalism and Autonomy | 291 |
The Idealist Tradition | 320 |
THE TWENTIETH CENTURY | 349 |
Theories of Meaning | 351 |
Conceptions of Objectivity | 393 |
The Phenomenology of Music | 437 |
The Sociology of Music | 470 |
NOTES | 511 |
Operatic Aesthetics | 137 |
THE NINETEENTH CENTURY | 201 |
Romantic Aesthetics | 203 |
Emotional Realism | 239 |
519 | |
531 | |
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Common terms and phrases
action Adorno aesthetics ancient aria artistic basic beauty become Beethoven century character characteristic citations are given completely composer composition conception of music concerned connection consciousness continues definite discussion drama effect emotional essay example experience feeling French fundamental galant Hanslick harmony Hegel historical human human voice ideal ideas imitation important individual inner instrumental music intrinsic Italian opera kind language librettist libretto listener maintains manifestation Mattheson meaning melody Metastasio mimesis monody mood motion musical aesthetics musical expression Musik neoclassicism Neue Sachlichkeit numbers of subsequent object opera buffa particular passions perception phenomenology play pleasure poet poetic poetry polyphony present principle produced program music purely relation represent reveals rhythm Saint-Evremond sense sensuous singing singspiel social song soul sound specific speech Stockhausen Stravinsky structure style subsequent citations symbolism temporal theory thought tion tonal tone tragedy treatise types understanding unity verse vocal Wagner whole words