Biography[ edit ] Hanslick was born in Prague then in the Austrian Empire , the son of Joseph Adolph Hanslik, a bibliographer and music teacher from a German-speaking family, and one of his piano pupils, the daughter of a Jewish merchant from Vienna. He also studied law at Prague University and obtained a degree in that field, but his amateur study of music eventually led to writing music reviews for small town newspapers, then the Wiener Musik-Zeitung and eventually the Neue Freie Presse , where he was music critic until retirement. By this time his interest in Wagner had begun to cool; he had written a disparaging review of the first Vienna production of Lohengrin. Hanslick often served on juries for musical competitions and held a post at the Austrian Ministry of Culture and fulfilled other administrative roles. He retired after writing his memoirs, but still wrote articles on the most important premieres of the day, up to his death in in Baden.

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As much as possible, the outline uses the vocabulary of the Payzant translation. Square brackets [like this] offer my own interpretive comments. This outline was written by Theodore Gracyk. He seems to think that the pursuit of objective criticism is already underway with literature and the visual arts. But the Romanticism of the nineteenth century looked instead to human expression of emotion. Many important composers found themselves dragged into this debate.

Does it have anything to do with feeling [emotion]? Prevailing views of music assign two distinct roles to feeling in relation to music. The defining purpose of music is assigned to its capacity to arouse feeling.

Feeling is the content of music, that which musical art presents in its works. The point is to make a distinction between the physical thing we hear, the series of sounds, and the music. Since we allow that we hear the same music on different occasions when there is a different physical object, we do not want to equate the musical with any physical object. There are several theories about the best way to make the distinction between physical object and music Today we are more likely to say that the musical work is an intentional object.

The objection fails if we think that music has multiple purposes, the way the food has both a nutritional and an aesthetic purpose. But two arts might differ in the medium employed while having a common principle of beauty and a common purpose. There is no constancy about the idea that we live on a planet that orbits the sun; I certainly experience the earth as stationary and flat, which just goes to show that appearances can be deceiving.

Chapter II — Feeling is not the content p. But if the same music can combine with different texts to convey distinct emotions, then the music does not by itself convey a specific emotion. In other words, an ideal implies that there are degrees of success and failure, and if communicating emotion is the ideal for music, the best emotional communication must coincide with the best music.

What music conveys in combination with text greatest specificity? Recitative and other "dramatic" text which is normally combined with the weakest music.

Success in combining words and music involves "constant tension" p. Each musical event involves composition plus reproduction [performance] and the latter is the vehicle for personal expression. The Listener This section of the chapter is dominated by a discussion of music therapy and the common but mistaken assumption that sound acts directly on the listener without intervention of the imagination.

Both are doubtful composers are unable to produce specific emotions "on demand".


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