Defining the Term ‘Absolute Music’ Historically
Identifieur interne : 000B25 ( Main/Exploration ); précédent : 000B24; suivant : 000B26Defining the Term ‘Absolute Music’ Historically
Auteurs : Sanna Pederson [États-Unis]Source :
- Music and Letters [ 0027-4224 ] ; 2009-05.
Abstract
In his influential book The Idea of Absolute Music, Carl Dahlhaus claimed there was ‘a comprehensive concept of “absolute” music which reveals the latent unity of musical aesthetics in the nineteenth century’. However, a history of the term ‘absolute music’, as opposed to the concept, leads in different directions that disrupt that latent unity. A reinvestigation of some of the ground covered in Dahlhaus's book shows, first, that it is a myth that Hanslick championed the term. Absolute music emerged as a positive concept associated with Hanslick only around 1880, which is when it started being used to designate the opposite of programme music. I also present evidence that Wagner and Nietzsche did not use the term ‘absolute music’ in a positive sense. A metaphysical ‘absolute music’ is found primarily in the writings of August Halm and Ernst Kurth. These theorists developed esoteric theories centred on Bruckner's music as the most perfect embodiment of absolute music. Dahlhaus's account of the idea of absolute music as the key aesthetic concept of the nineteenth century relies heavily on the twentieth-century writings of Halm and Kurth; it was only at this point that the term began to be used in combination with the concept. The conclusion addresses the question of why Dahlhaus constructed a unified idea of absolute music. The development of Dahlhaus's thought is considered in the context of his position as a professor of music in West Berlin, waging an ideological battle against Marxist musicology and his East Berlin counterpart Georg Knepler.
Url:
DOI: 10.1093/ml/gcp009
Affiliations:
Links toward previous steps (curation, corpus...)
- to stream Istex, to step Corpus: 003C03
- to stream Istex, to step Curation: 003729
- to stream Istex, to step Checkpoint: 000595
- to stream Main, to step Merge: 000B34
- to stream Main, to step Curation: 000B25
Le document en format XML
<record><TEI wicri:istexFullTextTei="biblStruct"><teiHeader><fileDesc><titleStmt><title>Defining the Term ‘Absolute Music’ Historically</title>
<author wicri:is="90%"><name sortKey="Pederson, Sanna" sort="Pederson, Sanna" uniqKey="Pederson S" first="Sanna" last="Pederson">Sanna Pederson</name>
</author>
</titleStmt>
<publicationStmt><idno type="wicri:source">ISTEX</idno>
<idno type="RBID">ISTEX:DD7936BFD0B9B4CC787F3A2F56A6320F4E6F1ADA</idno>
<date when="2009" year="2009">2009</date>
<idno type="doi">10.1093/ml/gcp009</idno>
<idno type="url">https://api.istex.fr/document/DD7936BFD0B9B4CC787F3A2F56A6320F4E6F1ADA/fulltext/pdf</idno>
<idno type="wicri:Area/Istex/Corpus">003C03</idno>
<idno type="wicri:Area/Istex/Curation">003729</idno>
<idno type="wicri:Area/Istex/Checkpoint">000595</idno>
<idno type="wicri:doubleKey">0027-4224:2009:Pederson S:defining:the:term</idno>
<idno type="wicri:Area/Main/Merge">000B34</idno>
<idno type="wicri:Area/Main/Curation">000B25</idno>
<idno type="wicri:Area/Main/Exploration">000B25</idno>
</publicationStmt>
<sourceDesc><biblStruct><analytic><title level="a">Defining the Term ‘Absolute Music’ Historically</title>
<author wicri:is="90%"><name sortKey="Pederson, Sanna" sort="Pederson, Sanna" uniqKey="Pederson S" first="Sanna" last="Pederson">Sanna Pederson</name>
<affiliation wicri:level="1"><country wicri:rule="url">États-Unis</country>
</affiliation>
</author>
</analytic>
<monogr></monogr>
<series><title level="j">Music and Letters</title>
<idno type="ISSN">0027-4224</idno>
<idno type="eISSN">1477-4631</idno>
<imprint><publisher>Oxford University Press</publisher>
<date type="published" when="2009-05">2009-05</date>
<biblScope unit="volume">90</biblScope>
<biblScope unit="issue">2</biblScope>
<biblScope unit="page" from="240">240</biblScope>
<biblScope unit="page" to="262">262</biblScope>
</imprint>
<idno type="ISSN">0027-4224</idno>
</series>
<idno type="istex">DD7936BFD0B9B4CC787F3A2F56A6320F4E6F1ADA</idno>
<idno type="DOI">10.1093/ml/gcp009</idno>
<idno type="ArticleID">gcp009</idno>
</biblStruct>
</sourceDesc>
<seriesStmt><idno type="ISSN">0027-4224</idno>
</seriesStmt>
</fileDesc>
<profileDesc><textClass></textClass>
<langUsage><language ident="en">en</language>
</langUsage>
</profileDesc>
</teiHeader>
<front><div type="abstract">In his influential book The Idea of Absolute Music, Carl Dahlhaus claimed there was ‘a comprehensive concept of “absolute” music which reveals the latent unity of musical aesthetics in the nineteenth century’. However, a history of the term ‘absolute music’, as opposed to the concept, leads in different directions that disrupt that latent unity. A reinvestigation of some of the ground covered in Dahlhaus's book shows, first, that it is a myth that Hanslick championed the term. Absolute music emerged as a positive concept associated with Hanslick only around 1880, which is when it started being used to designate the opposite of programme music. I also present evidence that Wagner and Nietzsche did not use the term ‘absolute music’ in a positive sense. A metaphysical ‘absolute music’ is found primarily in the writings of August Halm and Ernst Kurth. These theorists developed esoteric theories centred on Bruckner's music as the most perfect embodiment of absolute music. Dahlhaus's account of the idea of absolute music as the key aesthetic concept of the nineteenth century relies heavily on the twentieth-century writings of Halm and Kurth; it was only at this point that the term began to be used in combination with the concept. The conclusion addresses the question of why Dahlhaus constructed a unified idea of absolute music. The development of Dahlhaus's thought is considered in the context of his position as a professor of music in West Berlin, waging an ideological battle against Marxist musicology and his East Berlin counterpart Georg Knepler.</div>
</front>
</TEI>
<affiliations><list><country><li>États-Unis</li>
</country>
</list>
<tree><country name="États-Unis"><noRegion><name sortKey="Pederson, Sanna" sort="Pederson, Sanna" uniqKey="Pederson S" first="Sanna" last="Pederson">Sanna Pederson</name>
</noRegion>
</country>
</tree>
</affiliations>
</record>
Pour manipuler ce document sous Unix (Dilib)
EXPLOR_STEP=$WICRI_ROOT/Wicri/Musique/explor/MozartV1/Data/Main/Exploration
HfdSelect -h $EXPLOR_STEP/biblio.hfd -nk 000B25 | SxmlIndent | more
Ou
HfdSelect -h $EXPLOR_AREA/Data/Main/Exploration/biblio.hfd -nk 000B25 | SxmlIndent | more
Pour mettre un lien sur cette page dans le réseau Wicri
{{Explor lien |wiki= Wicri/Musique |area= MozartV1 |flux= Main |étape= Exploration |type= RBID |clé= ISTEX:DD7936BFD0B9B4CC787F3A2F56A6320F4E6F1ADA |texte= Defining the Term ‘Absolute Music’ Historically }}
This area was generated with Dilib version V0.6.20. |