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Book

French

ID: <

10670/1.indg89

>

Where these data come from
The classical and romantic musical aesthetic

Abstract

The classical and romantic musical aesthetic (1988), Carl Dahlhaus’s final book, is a presentation of the musical reflection between the ‘threshold epoke’ (Kosellek) around 1770 and the late decades of the nineteenth century, marking the beginning of modernity. Although it deals mainly with Germany, this book is universal, as the German musical aesthetics, especially during the decisive decade opened by the Kitic of the power to judge Kant (1790) and closed by fantasy on the art of Ludwig Tieck (1799), has been at the forefront of European development. Romantism was a phenomenon of musical aesthetics before becoming a musical phenomenon; he affirmed itself as a way of listening before penetrating the styles and shapes of the composition. One of the most curious facts of the period on which the book is centred is the simultaneous nature of classical and romantic musical aesthetics. However, classical music aesthetics remained around 1800 rudimentary, because there was no effective link between Vienna, the place of music classicism, and the main focus of reflection on music, central and northern Germany. In some respects, the great Austrian music criticism Eduard Hanslick (1904), which was unjustly treated as a formalist, is the esthetician who has succeeded in giving a legitimate formulation of the spirit of classical music. This is what August Halm and Heinrich Schenker are doing later, albeit without saying.

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