DOCSLIB.ORG

On Hanslick and the Musically Beautiful’

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
On Hanslick and the Musically Beautiful’ University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Author (Year of Submission) "Full thesis title", University of Southampton, name of the University Faculty or School or Department, PhD Thesis, pagination. University of Southampton Faculty of Humanities Department of Philosophy ‘On Hanslick and the Musically Beautiful’ By Maria Mjaaland Sele Thesis for the degree of Doctor of Philosophy January 2018 iv UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES Philosophy Doctor of Philosophy ‘ON HANSLICK AND THE MUSICALLY BEAUTIFUL’ By Maria Mjaaland Sele The content of music is not the representation of specific feelings, rather the content of music is forms realised in tone. Eduard Hanslick is known for his negative story and formalistic claims. After having discussed the claims of the negative story the main emphasis of this thesis is to enable a proper reading of Hanslick’s positive story. Hanslick’s main aim is to find what can stand as a foundation of a principle of the musically beautiful, and concludes that this foundation cannot be feeling. This negation of feeling as the content and purpose of music is founded on a belief of music as contentless. It is concluded that this idea of contentlessness is merely another way to claim that there is no form and content distinction in art, as there is no independent content. This distinction, as will be shown with the help of R.G. Collingwood, is what separates art from craft, as art has two kinds of ends, a technical end and an expressive end. Hanslick offers a similar distinction between Inhalt and Gehalt. This distinction is essential to understanding the picture Hanslick offers, as this distinction not only suggests the way in which we understand music by alluding to different aspects of understanding, but furthermore it offers a different way to read and interpret the main positive thesis of the content of music. Furthermore, this distinction stands as the foundation for how we should consider and value the process of the composer, the relation music has to nature, the musical system and the value of the listener. And last but by no means least, this distinction offers justification for an alternative reading of Hanslick where Hanslick is indeed a formalist but where he does not exclude everything that goes by the name of feeling. v vi To Julie, Filip, Tiril, Oskar and Endre. May this be proof of how what seems impossible, can be possible. - Never give up on your dreams. vii viii Table of Contents Figures................................................................................................................................................. xi Academic Thesis: Declaration Of Authorship ................................................................................... xiii Acknowledgements .......................................................................................................................... xiv Helpful overview of words and phrases used: ................................................................................. xvi Introduction ...................................................................................................................................... xix Chapter I: Eduard Hanslick.................................................................................................................. 1 I.I ‘On the Musically Beautiful’ .............................................................................................. 2 I.II A principle of aesthetics ................................................................................................... 5 Chapter II: The Negative Story ............................................................................................................ 9 II.I Aesthetics of Imagination and Beauty. ........................................................................... 10 II.II Feeling cannot be content ............................................................................................. 20 II.III The content of music is… .............................................................................................. 32 Chapter III: ‘Form’ and ‘Content’ ...................................................................................................... 37 III.I The Principles of Art ...................................................................................................... 38 III.II The quintessential distinction ...................................................................................... 50 III.III Music is contentless..................................................................................................... 56 III.IV Inhalt, Gehalt and Geist. .............................................................................................. 60 Chapter IV: Aspects of Understanding ............................................................................................. 69 IV.I The Art distinction ......................................................................................................... 70 IV.II Music’s relation to nature and musical understanding ............................................... 86 IV.III Musical Perception .................................................................................................... 101 Chapter V: The positive story ......................................................................................................... 108 V.I The content of music is forms realised in tone. ........................................................... 109 V.II The musical system ..................................................................................................... 113 V.III Forming process ......................................................................................................... 119 V.IV Musical Value ............................................................................................................. 132 Chapter VI: The particularly musically beautiful ............................................................................ 140 VI.I Traditional reading ‘music does not have to do with feeling’. ................................... 141 ix V.II Alternative reading ‘music is expressive of something that goes by the name of feeling’ ................................................................................................................................150 Concluding remarks .........................................................................................................................170 Bibliography: ....................................................................................................................................178 x Figures Figure 1. ‘Duck Rabbit’ (Wittgenstein PI: 166) xi xii Academic Thesis: Declaration of Authorship I, Maria Mjaaland Sele, declare that this thesis and the work presented in it are my own and has been generated by me as the result of my own original research. ‘On Hanslick and the Musically Beautiful’ I confirm that: 1. This work was done wholly or mainly while in candidature for a research degree at this University; 2. Where any part of this thesis has previously been submitted for a degree or any other qualification at this University or any other institution, this has been clearly stated; 3. Where I have consulted the published work of others, this is always clearly attributed; 4. Where I have quoted from the work of others, the source is always given. With the exception of such quotations, this thesis is entirely my own work; 5. I have acknowledged all main sources of help; 6. Where the thesis is based on work done by myself jointly with others, I have made clear exactly what was done by others and what I have contributed myself; 7. None of this work has been published before submission xiii Acknowledgements From the moment I started this journey, I had this whole great speech in mind for this section of my thesis. However, unknowing as I was of what I was about to embark on the speech I had in mind has changed, as have I. My thesis, as a work of art, has become what it is whilst it was being formed, it is not close to what I originally set out to do, but it is done. And as any artist, I can now only sit back and hope that what I have tried to express will be intelligible and understood by whomever reads it. There are many I should thank, and to those who feel like they deserve it, thank you. To those who think they don’t but who still deserve it; thanks to Benjamin, for support, discussion and editing. Any spelling mistakes are thusly his fault. Thanks to Jon Sverre and Marit, who have endured countless hours of rambling, for hospitality and for hugs. To Pål, for always lending an ear. To my mum and dad for always believing and supporting me and for always letting me come home. To Einar and Hanne,
Load more

Recommended publications
  • 182170262.Pdf
    Deeper Than Reason Caspar David Friedrich, Large Enclosure at Dresden,c.1831. Photograph ß AKG London. Deeper Than Reason Emotion and its Role in Literature, Music, and Art JENEFER ROBINSON CLARENDON PRESSÁ OXFORD 3 Great Clarendon Street, Oxford ox2 6dp Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan South Korea Poland Portugal Singapore Switzerland Thailand Turkey Ukraine Vietnam Published in the United States by Oxford University Press Inc., New York ß Jenefer Robinson 2005 The moral rights of the author have been asserted Database right Oxford University Press (maker) First published 2005 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organization. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose this same condition on any acquirer British Library Cataloguing in Publication Data Data available Library of Congress Cataloging in Publication Data Data available ISBN 0–19–926365–5 9780199263653 13579108642 Typeset by Kolam Information Services Pvt.
    [Show full text]
  • Eduard Hanslick's
    Eduard Hanslick’s “On the Musically Beautiful”: A New Translation Nicole Grimes All content is licensed under a Creative Commons Attribution 4.0 International License. Received: 08/07/2019 ORCID iD Nicole Grimes: https://orcid.org/0000-0001-7379-9990 Institution (Nicole Grimes): University of California, Irvine Published: 02/09/2019 Last updated: 02/09/2019 How to cite: Nicole Grimes, “Eduard Hanslick’s “On the Musically Beautiful”: A New Translation,” Musicologica Austriaca: Journal for Austrian Music Studies (September 02, 2019) Tags: 19th century; Aesthetics; Austrian Philosophy; Form; Formalism; Formenlehre; German Idealism; Hanslick, Eduard; Hegel, Georg Wilhelm Friedrich; Kant, Immanuel; Music Theory; Musical Beauty Nicole Grimes wishes to acknowledge that she contributed to the blurb on the back cover of this translation which reads: “This superlative new translation of Eduard Hanslick’sOn the Musically Beautiful captures the stylistic brilliance of Hanslick’s original while also illuminating his arguments and penetrating to the very heart of his aesthetic theory. Of particular interest is the collection of essays that precedes the translation. These situate Hanslick’s treatise in a broad philosophical and cultural context, elucidate his concepts with incisive clarity, and trace a fascinating history of the translation of the book. Thoroughly researched and deeply engaging, this will quickly become the definitive English version of Hanslick’s text.” What follows is an objective review of the book that fleshes out the reasons for the endorsement outlined above. Eduard Hanslick’s “On the Musically Beautiful”: A New Translation trans. by Lee Rothfarb and Christoph Landerer Oxford: Oxford University Press, 2018 224 pp., £ 16.99, ISBN: 9780190698188 https://global.oup.com/academic/product/eduard-hanslicks-on-the-musically-beautiful-978019069 8188?cc=at&lang=en&# [1] Eduard Hanslick’s treatise, Vom Musikalisch-Schönen: Ein Beitrag zur Revision der Ästhetik der Tonkunst (1854) has twice been translated into English in its entirety.
    [Show full text]
  • Canadian Women Composers in Modernist Terrain
    Document généré le 28 sept. 2021 10:26 Circuit Musiques contemporaines Canadian Women Composers in Modernist Terrain: Violet Archer, Jean Coulthard and Barbara Pentland Des compositrices canadiennes sur le terrain moderne: Violet Archer, Jean Coulthard and Barbara Pentland Janet Henshaw Danielson Composer au féminin Résumé de l'article Volume 19, numéro 1, 2009 Les carrières couronnées de succès des compositrices Jean Coulthard, Barbara Pentland et Violet Archer couvrent une grande partie du xxe siècle, à partir des URI : https://id.erudit.org/iderudit/019934ar années 1930. Embrasser une carrière en composition à cette époque-là DOI : https://doi.org/10.7202/019934ar comportait de nombreux défis : en tant que Canadiennes de l’Ouest, ces compositrices ont dû établir leur crédibilité with a public who could not be Aller au sommaire du numéro counted upon to recognize the worth of their work due to sexist bias tout en combattant le préjugé selon lequel être compris d’un vaste public démontre automatiquement un déficit de créativité. C’était particulièrement problématique pour des femmes, car elles devaient se maintenir au centre de Éditeur(s) l’avant-garde, plutôt que dans les franges expérimentales ou conservatrices, Les Presses de l'Université de Montréal afin d’obtenir une certaine reconnaissance. À la suite de la Seconde Guerre mondiale, la pression du modernisme s’est accrue, en partie à cause de l’élaboration, par le gouvernement américain occupant l’Allemagne, d’un ISSN nouveau scénario visant à établir une tradition expérimentale américaine afin 1183-1693 (imprimé) de contrer le stéréotype de l’Américain mal dégrossi. 1488-9692 (numérique) Découvrir la revue Citer cet article Danielson, J.
    [Show full text]
  • An Ecocritical Aesthetic of Noise in Japanese Traditional Sound Culture and the Sound Art Of
    This article was downloaded by: [University of California, Los Angeles (UCLA)] On: 16 May 2013, At: 22:07 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Green Letters: Studies in Ecocriticism Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/rgrl20 ‘SILENCE BY MY NOISE'’: AN ECOCRITICAL AESTHETIC OF NOISE IN JAPANESE TRADITIONAL SOUND CULTURE AND THE SOUND ART OF AKITA MASAMI James Edwards a a University of California, Los Angeles Published online: 22 Oct 2012. To cite this article: James Edwards (2011): ‘SILENCE BY MY NOISE'’: AN ECOCRITICAL AESTHETIC OF NOISE IN JAPANESE TRADITIONAL SOUND CULTURE AND THE SOUND ART OF AKITA MASAMI, Green Letters: Studies in Ecocriticism, 15:1, 89-102 To link to this article: http://dx.doi.org/10.1080/14688417.2011.10589093 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.tandfonline.com/page/terms- and-conditions This article may be used for research, teaching, and private study purposes. Any substantial or systematic reproduction, redistribution, reselling, loan, sub-licensing, systematic supply, or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae, and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand, or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material.
    [Show full text]
  • Hanslick, Kant, and the Origins of Vom Musikalisch-Schönen
    Hanslick, Kant, and the Origins of Vom Musikalisch-Schönen Alexander Wilfing All content is licensed under a Creative Commons Attribution 4.0 International License. Received: 04/12/2015 Accepted: 19/07/2017 ORCID iD Alexander Wilfing: https://orcid.org/0000-0002-0117-3574 Institution (Alexander Wilfing): Austrian Academy of Sciences, Austrian Centre for Digital Humanities and Cultural Heritage, Department of Musicology Published: 18/06/2018 Last updated: 18/06/2018 How to cite: Alexander Wilfing, “Hanslick, Kant, and the Origins of Vom Musikalisch-Schönen,” Musicologica Austriaca: Journal for Austrian Music Studies (June 18, 2018) Tags: 19th century; 20th century; Aesthetics; Austrian Philosophy; Formalism; Hanslick, Eduard; Herbart, Johann Friedrich; Kant, Immanuel; Zimmermann, Robert This paper is based on a talk given at the Fourth Annual “Music and Philosophy” Conference at King’s College London, June 27–28, 2014. I want to thank Michele Calella, Stephen Davies, Derek Matravers, Violetta Waibel, Nick Zangwill, and multiple referees for productive criticism on earlier sketches of this text. I am especially grateful to Mark Evan Bonds, Christoph Landerer, and Lee Rothfarb, who carefully improved the wording of the present version and gave numerous insightful comments. Unless otherwise indicated, all translations are my own. My text was made possible by financial support from the Austrian Science Fund (FWF, project number P26610). Abstract Recent scholarship on musical aesthetics, notably in analytical philosophy of music, commonly identifies the main ideas of Eduard Hanslick’s Vom Musikalisch-Schönen (“On the Musically Beautiful”, 1854) with Kant’s Kritik der Urteilskraft (“Critique of the Power of Judgment”, 1790), due to an ostensibly equivalent concept of ‘strict’ aesthetic formalism.
    [Show full text]
  • Absolute Music and the Deleted Endings of Hanslick's Vom Musikalisch-Schönen Author(S): Mark Evan Bonds Source: 19Th-Century Music , Vol
    Aesthetic Amputations: Absolute Music and the Deleted Endings of Hanslick's Vom Musikalisch-Schönen Author(s): Mark Evan Bonds Source: 19th-Century Music , Vol. 36, No. 1 (Summer 2012), pp. 3-23 Published by: University of California Press Stable URL: https://www.jstor.org/stable/10.1525/ncm.2012.36.1.003 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms University of California Press is collaborating with JSTOR to digitize, preserve and extend access to 19th-Century Music This content downloaded from 195.130.124.2 on Mon, 30 Nov 2020 11:15:44 UTC All use subject to https://about.jstor.org/terms MARK EVAN BONDS Absolute Music and Hanslick Aesthetic Amputations: Absolute Music and the Deleted Endings of Hanslick’s Vom Musikalisch-Schönen MARK EVAN BONDS Eduard Hanslick’s Vom Musikalisch-Schönen arouse emotions in listeners but insists that (On the Musically Beautiful), first published in these emotions are neither in the music nor 1854, remains the single most important docu- expressed by it. The value of a musical work, ment in the history of the aesthetic construct he maintains, resides in its beauty, which arises broadly known as “absolute music,” the idea from purely musical features that stand quite that music is an essentially self-contained and apart from any connections or symbolic asso- self-referential art.
    [Show full text]
  • Music, Language, and Composition Theodor W. Adorno
    Music, Language, and Composition Author(s): Theodor W. Adorno and Susan Gillespie Source: The Musical Quarterly, Vol. 77, No. 3, (Autumn, 1993), pp. 401-414 Published by: Oxford University Press Stable URL: http://www.jstor.org/stable/742388 Accessed: 13/08/2008 11:47 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=oup. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org Music, Language, and Composition TheodorW. Adorno(Translated by Susan Gillespie) Music is similar to language. Expressionslike musical idiom or musical accent are not metaphors.
    [Show full text]
  • Young Nietzsche and the Wagnerian Experience
    Young Nietzsche and the Wagnerian Experience From 1949 to 2004, UNC Press and the UNC Department of Germanic & Slavic Languages and Literatures published the UNC Studies in the Germanic Languages and Literatures series. Monographs, anthologies, and critical editions in the series covered an array of topics including medieval and modern literature, theater, linguistics, philology, onomastics, and the history of ideas. Through the generous support of the National Endowment for the Humanities and the Andrew W. Mellon Foundation, books in the series have been reissued in new paperback and open access digital editions. For a complete list of books visit www.uncpress.org. Young Nietzsche and the Wagnerian Experience frederick r. love UNC Studies in the Germanic Languages and Literatures Number 39 Copyright © 1963 This work is licensed under a Creative Commons cc by-nc-nd license. To view a copy of the license, visit http://creativecommons. org/licenses. Suggested citation: Love, Frederick R. Young Nietzsche and the Wagne- rian Experience. Chapel Hill: University of North Carolina Press, 1963. doi: https://doi.org/10.5149/9781469657837_Love Library of Congress Cataloging-in-Publication Data Names: Love, Frederick R. Title: Young Nietzsche and the Wagnerian experience / by Frederick R. Love. Other titles: University of North Carolina Studies in the Germanic Languages and Literatures ; no. 39. Description: Chapel Hill : University of North Carolina Press, [1963] Series: University of North Carolina Studies in the Germanic Languages and Literatures. | Includes bibliographical references. Identifiers: lccn 63063585 | isbn 978-0-8078-8039-5 (pbk: alk. paper) | isbn 978-1-4696-5783-7 (ebook) Subjects: Nietzsche, Friedrich Wilhelm, 1844-1900.
    [Show full text]
  • Brahms's Poetic Allusions Through Hanslick's Critical Lens
    Brahms’s Poetic Allusions through and criticism of music akin to Hanslick’s writings on Brahms, and at a point where the image of Brahms as a composer of Hanslick’s Critical Lens absolute music was being steadily eroded in favor of a more nuanced assessment of the composer’s output,7 scholarly Positioning Hanslick the Critical Historian positions on Hanslick’s view of Brahms have not moved in step Writing in the pages of this Newsletter in 2004,1 and later in with these developments. his monograph Music, Criticism, and the Challenge of History: This formalist view of Hanslick’s writings on Brahms goes Shaping Modern Musical Thought in Late-Nineteenth Century hand in hand with what Daniel Beller-McKenna describes as Vienna,2 Kevin C. Karnes identied three phases in the output a “nationally neutral view of Brahms” that “largely persisted” of Eduard Hanslick. The rst, that of the “critic and writer of throughout the second half of the twentieth century.8 When aesthetics,” was marked by the publication in 1854 of Vom comparing the more openly nationalistic Brahms reception of Musikalisch-Schönen, on account of which Hanslick gained pre-World War II with that of the later twentieth century, Beller- his reputation as a formalist advocate of absolute music; the McKenna sees the latter as “an attempt to neutralize [Brahms’s] second, from the 1860s, saw the emergence of a “cultural legacy, an endeavor born of the need to salvage something historian,” aspiring to the positivist model of Phillip Spitta, good, noble, and pure from the German cultural tradition in the Gustav Nottebohm, Otto Jahn, and Friedrich Chrysander; wake of National Socialism.”9 In a parallel scenario, Hanslick’s and the third, from 1870 onward, witnessed Hanslick become hermeneutic style descriptions of Brahms’s music t less a “critical historian, obsessed with documenting the day to comfortably than a discussion of the formalist aspects of Vom day unfolding of contemporary musical life and avowedly Musikalisch-Schönen.
    [Show full text]
  • Music, Language, and Composition Author(S): Theodor W
    Music, Language, and Composition Author(s): Theodor W. Adorno and Susan Gillespie Source: The Musical Quarterly, Vol. 77, No. 3 (Autumn, 1993), pp. 401-414 Published by: Oxford University Press Stable URL: http://www.jstor.org/stable/742388 Accessed: 05/10/2010 08:02 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=oup. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Oxford University Press is collaborating with JSTOR to digitize, preserve and extend access to The Musical Quarterly. http://www.jstor.org Music, Language, and Composition TheodorW. Adorno(Translated by Susan Gillespie) Musicis similarto language.Expressions like musicalidiom or musical accent are not metaphors.But musicis not language.Its similarityto languagepoints to its innermostnature, but also towardsomething vague.The personwho takesmusic literally as languagewill be led astrayby it.
    [Show full text]
  • Nietzsche's Critique of "Absolute" Music
    Georgia State University ScholarWorks @ Georgia State University Philosophy Theses Department of Philosophy 8-10-2021 Nietzsche's Critique of "Absolute" Music David Swigart Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/philosophy_theses Recommended Citation Swigart, David, "Nietzsche's Critique of "Absolute" Music." Thesis, Georgia State University, 2021. https://scholarworks.gsu.edu/philosophy_theses/289 This Thesis is brought to you for free and open access by the Department of Philosophy at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Philosophy Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. NIETZSCHE’S CRITIQUE OF “ABSOLUTE” MUSIC by DAVID SWIGART Under the Direction of Jessica Berry, PhD A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the College of Arts and Sciences Georgia State University 2021 ABSTRACT In Human, All-Too-Human, Nietzsche initiates an unexpected criticism of art, specifically a criticism of its ability to help humans justify life in a world full of suffering. Nietzsche sets his sights on absolute music, music that perpetuates religious values inherited from Christianity and renders the modern listener unable to affirm life. Drawing from various sources in nineteenth- century Germany, including his former friend Richard Wagner, Nietzsche demonstrates that rather than relying on absolute music to
    [Show full text]
  • University Micrdoms International
    INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “ target” for pages apparently lacking from the document photographed is “ Missing Page(s)” . If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure com plete c o n tin u ity . 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image o f the page can be found in the adjacent frame. I f copyrighted materials were deleted, a target note w ill appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again-beginning below the first row and continuing on until complete.
    [Show full text]