Music in European Thought, 1851-1912

Music in European Thought, 1851-1912

by Bojan Bujic
     
 

ISBN-10: 0521089514

ISBN-13: 9780521089517

Pub. Date: 11/06/2008

Publisher: Cambridge University Press

This volume, in the series Cambridge Readings in the Literature of Music, is an anthology of original German, French and English writings from the period 1851–1912. Throughout the second half of the nineteenth century music continued to be a subject to which philosophers, psychologists, scientists and critics repeatedly addressed themselves. Some of the

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Overview

This volume, in the series Cambridge Readings in the Literature of Music, is an anthology of original German, French and English writings from the period 1851–1912. Throughout the second half of the nineteenth century music continued to be a subject to which philosophers, psychologists, scientists and critics repeatedly addressed themselves. Some of the philosophical approaches followed the tradition of the German speculative philosophy of the late eighteenth and early nineteenth centuries. Elsewhere the new 'scientific' climate of the nineteenth century left its mark on the work of scientists and psychologists interested in the impact of acoustical stimuli on the human mind or in the role of music and song in the prehistory of mankind.

Product Details

ISBN-13:
9780521089517
Publisher:
Cambridge University Press
Publication date:
11/06/2008
Series:
Cambridge Readings in the Literature of Music Series
Pages:
436
Product dimensions:
5.90(w) x 9.00(h) x 1.20(d)

Table of Contents

Part I. German aesthetics of music in the second half of the nineteenth century: 1. Music as an autonomous being; 2. Music as an expressive force; 3. The eclectic tendency; Part II. Aesthetics of music in France and England: 4. General works; 5. The Impact of Wagner; 6. England; Part III. Music and positivist thought: 7. Psychology of music and the theory of empathy; 8. Theories and speculation about the origin of music; Part IV. Bridge between music theory and philosophy and the beginnings of musicology as an independent discipline: Part V. New tendencies at the turn of the century: 9. Historical understanding; 10. Criticism of the theory of empathy; 11. The past and the future of music.

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