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Topic: Eduard Hanslick

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	Music and Emotion - Notes on Eduard Hanslick
		Hanslick is commonly regarded as advocating an intellectualized form of aesthetic pleasure.
		Hanslick does not deny that listeners may be emotionally moved by listening to music, but he regards such feelings as a by-product of the music's beauty.
		Hanslick regards the purpose of aesthetic beauty to to be the gratification of the listener.
	www.music-cog.ohio-state.edu /Music829D/Notes/Hanslick.html (662 words)

	Æ - Volume 2 : R.W. HALL, Hanslick With Feeling
		When Hanslick refers to (1), he is emphasizing that feeling in the ordinary sense has no role to play in the process of composition, whether it be the initial inspiration or subsequently in « fleshing out » the musical work.
		Hanslick's reasons for holding (1) are well known and need not be discussed here, but attention should be given to how he arrives at (2) and what is the nature of the expressive terms applied to the musical work.
		Perverse descriptions are, of course, those definitions cited by Hanslick which hold that music's function is either to portray the emotions of the composer or to arouse the emotions of the listeners, or perhaps both.
	www.uqtr.uquebec.ca /AE/vol_2/hall.html (4006 words)

	Towards an Interpretation of Eduard Hanslick's Philosophy ... (Site not responding. Last check: 2007-10-19)
		Hanslick's view is often misinterpreted as one that completely deprives music of feeling, while his intentionally provocative slogan which declares form to be content, namely its own opposite, has unleashed an as yet unresolved controversy.
		In Hanslick's linguistically informed philosophy of musical language the terms "music" and "form" are often employed synonymously, while the embodied performance (corresponding to the "emotion filled" intonational patterns of verbal exclamation) is the designated carrier of emotion in music.
		Regarding Hanslick's polemics, textual analysis reveals that the marvelous sophistication of Humboldt's view of the phenomenon "language" (which, admittedly, never incorporated semantic considerations in great detail) is shed in favor of a series of naive cognitive models of linguistic and, by extension, musical meaning.
	www.societymusictheory.org:16080 /smt/html/events/abstracts/smt-99.abstracts/pace.html (267 words)

	Towards an Interpretation of Eduard Hanslick's Philosophy ... (Site not responding. Last check: 2007-10-19)
		Hanslick's view is often misinterpreted as one that completely deprives music of feeling, while his intentionally provocative slogan which declares form to be content, namely its own opposite, has unleashed an as yet unresolved controversy.
		In Hanslick's linguistically informed philosophy of musical language the terms "music" and "form" are often employed synonymously, while the embodied performance (corresponding to the "emotion filled" intonational patterns of verbal exclamation) is the designated carrier of emotion in music.
		Regarding Hanslick's polemics, textual analysis reveals that the marvelous sophistication of Humboldt's view of the phenomenon "language" (which, admittedly, never incorporated semantic considerations in great detail) is shed in favor of a series of naive cognitive models of linguistic and, by extension, musical meaning.
	www.societymusictheory.org /html/events/abstracts/smt-99.abstracts/pace.html (267 words)

	Sunday Morning - The Critics Part 3: Eduard Hanslick -06/11/2005
		Eduard Hanslick was just the towering critic of the time, and the Viennese people, a lot of them were very well educated, a lot of them read all the papersthey had lots of papers published weekly, daily, and they had special music journals.
		I think Hanslick felt that he, like most other critics, because they were wielding a very powerful weapon (that’s the pen) and could make or break reputations, that he had a kind of ethical or some kind of responsibility to society and for music life as a whole.
		Hanslick too, he wanted to be a successful critic and very influential, he wanted to influence the music scene all around Europe and he kept doing that.
	www.abc.net.au /rn/arts/sunmorn/stories/s1498161.htm (3747 words)

	Pfau, 'The Voice of Critique: Aesthetic Cognition After Kant,' Part II - Romanticism and Philosophy in an Historical ...
		Arguably, the dominant models of nineteenth-century musical aesthetics and analysis (Hanslick, Riemann, Schenker) are all premised on an active experience of music, one revolving not around the passive reception of sound but demanding the silent, listening isolation of recursive, imitative, antithetical, or otherwise differential patterns in a given composition.
		Premising early on that "composing is a work of mind upon material compatible with mind" (31), Hanslick formulates his conception of musical form as the development of an abstract intelligence, alternately engaged in its composition or in its reconstruction: "Music consists of tonal sequences, tonal forms; these have no other content than themselves.
		Hanslick's formalist approach is succinctly captured by his much-quoted characterization of listening as "contemplating with active understanding," a process that compels us to "rigorously distinguish between the concepts of feeling and sensation" (3, 4).
	www.rc.umd.edu /praxis/philosophy/pfau1/tp1ii.html (1879 words)

	Debate of Brahms and Wagner
		Vienna was the home of Brahms and regarded by critics, especially the mightiest of critics - Eduard Hanslick, as the heir to Beethoven.
		This prompted Eduard Hanslick, Professor of Music History at Vienna University and spokesman of the Brahms camp, to launch an all-out attack on Bruckner, whom he perceived as an exponent of "wagnerism" in Austria.
		Hanslick, whose allegiances lay with a formalistic concept of musical structure, was bound to view Bruckner’s entire symphonic output as a monstrosity, since its guiding formal principle is that of expressive articulation.
	www.geocities.com /Vienna/4291/debate.htm (688 words)

	Eduard Hanslick Quotes & Quotations, Biographies And Pictures.
		Eduard Hanslick (*September 11, 1825, in Prague; † August 6, 1904, in Baden near Vienna) was a Bohemian-Austrian writer on music, perhaps the most influential music critic of the 19th century.
		Hanslick was born in Prague, the son of Joseph Adolph Hanslick, a bibliographer and music teacher from a German-speaking family, and one of his piano pupils, the daughter of a merchant from Vienna.
		At the age of 18 Hanslick went to study music with Václav Tomášek, one of Prague's....
	www.focusdep.com /quotes/authors/Eduard/Hanslick (355 words)

	S. Was Beckmesser based on Eduard Hanslick? (Site not responding. Last check: 2007-10-19)
		Hanslick was not known to Wagner when he wrote his first Prose Draft of "Die Meistersinger" in July 1845.
		According to this autobiographical account, Wagner believed that Hanslick was in some discomfort at this reading and friends of Wagner who were present got the impression (according to Wagner; his account is not corroborated) that Hanslick had seen himself as Wagner's target.
		Hanslick became increasingly critical of Wagner, who began to regard the critic if not as an enemy at least as no longer a friend.
	www.faqs.org /faqs/music/wagner/general-faq/section-33.html (515 words)

	Strauss Eduard: Free Encyclopedia Articles at Questia.com Online Library
		"Eduard Zeller" found himself driven from scientific...and from Hausrath you may learn how Strausss life was darkened by clerical and official...No eminent German -- certainly not Strauss -- ever said with impunity such things...
		Eduard Strauss, the third son of Johann...the three world-famous Strauss sons--Johann 1825, Josef 1827, Eduard 1835 --as babies in...
		Eduard Roschmann was later smoked out of his hiding place in Argentina...offices.
	www.questia.com /library/encyclopedia/strauss-eduard.jsp?l=S&p=9 (1086 words)

	hss_bonds_hisofmusic_1\|Chapter 14: The Age of the Tone Poet\|Primary Evidence\|Hanslick on the Superiority of Absolute
		Eduard Hanslick’s On the Beautiful in Music, first published in 1854, was the manifesto of the musical conservatives who believed in the sanctity of absolute music.
		Hanslick (1825–1904) argued that music could not in its own right express emotions.
		In this passage from his very influential and much-quoted 1854 On the Beautiful in Music, Hanslick essentially argues in opposition to the progressive composers of programmatic music.
	wps.prenhall.com /hss_bonds_hisofmusic_1/0,7832,731930-,00.utf8.html (1036 words)

	Beauty Matters: 02 January 2000
		Perhaps even more controversially at the time, Hanslick claimed further that beautiful music could never be written as a narrative representation of an event or other specific content: ‘a musician cannot but find this method hazardous from the very start, since it demonstrates that music is only the afterthought.
		Hanslick’s conviction of the autonomous beauty of music foreshadows the development of ideas about musical beauty by composers in the twentieth –century.
		Hanslick’s analysis of musical beauty as being independent of human beings lays the foundation for objective standards of criticism about beauty in music.
	beautymatters.blogspot.com /2000_01_02_beautymatters_archive.html (960 words)

	Payzant, Geoffrey: Hanslick on the Musically Beautiful: Sixteen Lectures on the Musical Aesthetics of Eduard Hanslick
		Published at Prague in 1854 and a mere 104 pages, VMS ran to ten German editions and many translations in Hanslick's lifetime (he died in 1904).
		One may agree or disagree with its arguments and conclusions, but there is no denying that musical aesthetics as we know it has been given shape and direction by this small classic.
		Payzant's lectures examine aspects of the Hanslick debate which have received less attention than they deserve.
	www.forbesbookclub.com /bookpage.asp?prod_cd=IKL26 (156 words)

	Ecclectica » Musical Dialectics
		In German-speaking lands, men like Eduard Hanslick, Guido Adler, and Hugo Riemann worked tirelessly to promote the advanced study of music as part of the Geisteswissenschaften.
		While the work of scholars like François Fétis in France and Edmund Fellowes in Great Britain also contributed to the development of the nascent discipline, it was the post-Humboldt German research university that first housed musicology (used in its broadest, most-encompassing sense) as an academic discipline.
		Eduard Hanslick held the first professorship in musicology in Europe, at the University of Vienna.
	www.ecclectica.ca /issues/2006/2/McClatchie.ecc.asp (1778 words)

	Thorn in the Flesh \| TIME
		Vienna's Eduard Hanslick was the most fearless and most feared music critic of his day (1825-1904), and one of the most justly renowned of all time.
		A selection of Hanslick's criticism, published under the title Vienna's Golden Years of Music (Simon and Schuster; $3.75), shows how close, even in the heat of battle, the old critic came to the mark.
		As late as Tannhäuser (1845), Hanslick considered Wagner "the greatest dramatic talent among all contemporary composers." But with Lohengrin, and Wagner's pronouncements about his "music of the future," Hanslick became disenchanted.
	www.time.com /time/magazine/article/0,9171,888917,00.html (626 words)

	ESCHATONE RECORDS
		Formed in Albany, NY in 1995 by a couple of teenagers—keyboardist Jed Davis and bassist Mike Keaney—the band rocketed though an immensely successful two-year run in upstate New York, performing its singular brand of brash, honest, visceral-yet-thoughtful rock and roll in front of thousands in the region.
		But ten years later, the four members of The Hanslick Rebellion found themselves face-to-face once again, instruments in hand, 200 miles south of the band's birthplace—at a rehearsal studio in New York City.
		As Gen-X kids pimping out the ideology of the band they might become, Keaney and Davis would sit in Denny's and rant until the wee hours about how Hanslick's "rebellion" against musical excess should be revived to bring back rock and roll in its purest form, to strip away the decadence and the bullshit.
	www.eschatone.com /therebellion (452 words)

	Amazon.com: "Eduard Hanslick": Key Phrase page (Site not responding. Last check: 2007-10-19)
		As Viennese critic Eduard Hanslick noted on his first hearing, Joachim did not play the crowd but searched deep in the music for structure and...
		Eduard Hanslick, who had been working as a journalist since 1846, became the music critic of the Wiener Zeitung in 1848 and...
		Hanslick and the Wagnerians In January 1848 Eduard Hanslick (1825-1904), who became the most powerful Viennese critic over the next half century, published his first column as an official...
	amazon.com /phrase/Eduard-Hanslick (633 words)

	Cybereditions: High Quality Non-Fiction Ebooks and Print-on-Demand Paperbacks
		Payzant’s lectures examine aspects of the Hanslick debate which have been given less attention than they deserve.
		He had his philosophical training at the University of Toronto, where he taught the philosophical aesthetics of music in the Department of Philosophy from 1957 to 1985.
		His publications include Glenn Gould, Music and Mind (1978); an English translation of Hanslick’s VMS (1986); and Eduard Hanslick and Ritter Berlioz in Prague (1991).
	cybereditions.com /CYVIEWSUMMARY::10024 (255 words)

	Direct Testimony
		Eduard Hanslick, "Anton Dvorak," Dwight's Journal of Music, Vol.
		The persons who attended the first Philharmonic Concert read in the programmes for the first time the name of Anton Dvorak, and, for the first time, heard a composition, "Slavisches Rhapsodie fur Orchester" (A-flat major, No. 3), by the Unknown aforesaid.
		This publication by Eduard Hanslick marks the first time that Dvorak received full treatment in a major European journal (the New Free Press).
	homepage.mac.com /rswinter/DirectTestimony/Pages/2.html (1411 words)

	Brahms: huberman.info
		The audience that night contained such celebrities as Gustav Mahler, Anton Bruckner, Alfred Grünfeld, Hans Richter, Eduard Hanslick, Count Hohenlowe, Karl Goldmark, Ferdinand Löwe, Eusebius Mandyczewski, Johann Strauss, and the composer himself, Johannes Brahms.
		Brahms brought him a photo of his, with the inscription “To Bronislaw Huberman so that he may kindly remember Vienna, February 1896, and his grateful listener J. Brahms.”; The musical quotation is the opening of the slow movement of the concerto.
		Hanslick wrote “In the face of such transcendent genius, criticism as such ceases,” and Schwarz tells us that the composer Carl Goldmark entered into Huberman’s album, “Now I begin to believe in the wonders of the Bible.”
	www.huberman.info /biography/brahms (352 words)

	Embellishments 13: Gustav Mahler, Die drei Pintos
		Are they not at all to be brought to life?" So did I [Eduard Hanslick] question more than once Max von Weber, the spirited son of the composer during his stay of several years in Vienna.
		Weber's diary gives evidence of the enthusiasm with which he started this comedy and how he, distracted by other major commitments, always thought about its continuation.
		[Hanslick continues his review with a summary of the plot and musical numbers.
	www.areditions.com /rr/embellish/2001_13/feature.html (964 words)

	Joseph Anton Bruckner, Music Culture & Society (Site not responding. Last check: 2007-10-19)
		Due to his somewhat "rustic" behavior, he was often ridiculed and misunderstood by many cosmopolitan Viennese.
		Many Viennese who loved the neo-classical music of Brahms and Schumann and the musical critic Eduard Hanslick who supported the Brahms' faction often criticized and ridiculed Bruckner.
		Due to numerous rejections of his earlier symphonies by orchestras such as the Vienna Philharmonic and conductors such as Otto Desoff and Hans Richter during certain period of AB's Vienna years, he revised his symphonies many times.
	members.aol.com /tamayu (1197 words)

	Eduard Hanslick and Ritter Berlioz in Prague
		Eduard Hanslick, aged twenty and destined to become the most influential music critic of his day, was in the midst of the excitement in Prague over Berlioz.
		As Geoffrey Payzant's documentary narrative tells, Hanslick there and then abandoned his youthful romanticism and adopted the formalistic view of the nature of music that characterized his writings for the remainder of his long working life.
		Among his publications are the first (and for ten years the only) monograph on Glenn Gould and a new English translation of Eduard Hanslick's On the Musically Beautiful.
	www.ucalgary.ca /UP/0-919813/0-919813-81-X.html (177 words)

	Quote Details: Eduard Hanslick: The prelude to Tristan... - The Quotations Page
		Quote Details: Eduard Hanslick: The prelude to Tristan...
		The prelude to Tristan and Isolde reminds me of the Italian painting of the martyr whose intestines are slowly being unwound from his body on a reel.
		Log in using the form to the left, or register as a new user.
	www.quotationspage.com /quote/21287.html (83 words)

	Eduard Hanslick - classical music daily anniversary (Site not responding. Last check: 2007-10-19)
		The controversial music critic Eduard Hanslick was born in Prague on 11 September 1825.
		At first an admirer of Wagner, his attitude changed, and his biting criticism found its mark, many times over.
		Nowadays we can see this in perspective and admire Hanslick's critical faculties and excellent prose.
	www.mvdaily.com /articles/anniv.cgi?id=938 (65 words)

	Music 344—Worksheet 6
		Eduard Hanslick was perhaps the most influential music critic of the late 19th century.
		Summarize Hanslick’s opinion of Brahms and of Wagner.
		Which side do you think Hanslick took in the controversy between the two composers?
	www.elmhurst.edu /~markh/history2/600Wksht344.htm (407 words)

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