By Kevin Karnes
Greater than a century after Guido Adler's appointment to the 1st chair in musicology on the collage of Vienna, track, feedback, and the problem of background provides a primary examine the self-discipline during this earliest interval, and on the ideological dilemmas and methodological anxieties that characterised it upon its institutionalization. writer Kevin Karnes contends that essentially the most important questions surrounding musicology's disciplinary identities today-the courting among musicology and feedback, the position of the topic in research and the narration of background, and the tasks of the coed to the listening public-originate in those conflicted and principally forgotten beginnings.
Karnes lays naked the character of song learn within the past due 19th century via insightful readings of long-overlooked contributions via 3 of musicology's most desirable pioneers-Adler, Eduard Hanslick, and Heinrich Schenker. formed as a lot by way of the skeptical pronouncements of the likes of Nietzsche and Wagner because it was once by means of progressivist ideologies of clinical positivism, the hot self-discipline comprised an array of oft-contested and very own visions of song examine, its worth, and its destiny. Karnes introduces readers to a Hanslick who rejected the decision of positivist scholarship and committed himself to penning an avowedly subjective heritage of Viennese musical lifestyles. He argues that Schenker's analytical experiments had roots in a Wagner-inspired look for a serious replacement to Adler's style-obsessed scholarship. And he illuminates Adler's made up our minds reaction to Nietzsche's warnings in regards to the energy of creative and cultural existence in an more and more clinical age. via subtle and meticulous presentation, Music, feedback, and the problem of History demonstrates that the hot self-discipline of musicology was once inextricably tied in with the cultural discourse of its time.
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Additional resources for Music, Criticism, and the Challenge of History: Shaping Modern Musical Thought in Late Nineteenth-Century Vienna (AMS Studies in Music)
1 (continued) likewise drew his readers’ cognizance to the unforeseen pairing of tune and textual content in Brahms’s track. For Hanslick, even if, this strange association simply bolstered his personal formerly voiced conviction musical paintings can't be acknowledged to precise an emotional message in any particular means. 21 watching that Flemming’s “bourgeois [bürgerlichen] phrases get within the method of the passionate music,” Hanslick argued that “one can contemplate this music one more instance of the paradox of music—a factor hardly ever encountered with Brahms.
Fifty one The Romantic cult of creative genius, Nietzsche charged, was once a cult outfitted round a fantasy. In his makes an attempt to debunk the parable of genius in song and the humanities, Nietzsche was once reinforced, as Walter Frisch has proven, by way of the paintings of a musicologist, Gustav Nottebohm. In his pioneering experiences of Beethoven’s sketches all started within the 1860s, Nottebohm awarded provocative proof that even this so much excellent of artists used to be now not a ﬁgure possessed of unfathomable inventive powers yet easily “a nice employee, tireless not just in inventing, but additionally in rejecting, sifting, reshaping, ordering.
33 As Stern files, the ﬁ nal years of the 19th century observed the book of a torrent of skeptical and irrationalist polemics condemning technology, know-how, and rationalistic inquiry as antithetical to mankind’s religious essence and German cultural values quite. leader between those latter values have been creativity and (in Stern’s phrases) “childlike simplicity, subjectivity, individuality. ”34 within the 1870s, this kind of view was once voiced in Adler’s circle by way of the poet Siegfried Lipiner, who lectured to the collage of Vienna’s examining Society for German scholars at the want for a “Renewal of spiritual principles within the current” and who drew largely upon Wagner’s paintings to help his assertions.
1 A decade later, Moriz Thausing voiced comparable misgivings with reference to his paintings as an paintings historian whilst he famous that “artistic phenomena will not be as simply grasped as average gadgets . . . for us, there aren't any experiments, less a corpus vile. ” 2 Even Spitta, whose “Art and the research of paintings” (“Kunstwissenschaft und Kunst,” 1883) supplied 1. Friedrich Chrysander, “Vorwort und Einleitung,” Jahrbücher für musikalische Wissenschaft 1 (1863), 10; trans. in Bojan Bujic´, ed. , song in ecu idea 1851–1912, Cambridge Readings within the Literature of song (Cambridge: Cambridge collage Press, 1988), 345–46.
Truthfully, the mind's eye of a very good artist or philosopher continuously produces reliable, mediocre, and undesirable issues, yet his energy of judgment, hugely sharpened and practiced, rejects, selects, ties jointly. forty five In his memoirs, Jenner mentioned Brahms’s assurances that every one artists, even if talented, needs to tirelessly paintings to hone their talents; “even Mozart ﬁ rst needed to learn how to write,” he remembered Brahms explaining. In an identical vein, Nietzsche, in Human, All Too Human, recommended that “The genius, too, does not anything except studying ﬁ rst to set stone upon stone.