This is an abridged, paperback edition of Peter le Huray and James Day's invaluable anthology of writings concerned with the role of music in eighteenth- and early-nineteenth-century aesthetics. This volume retains all the most important and significant items from the original hardcover edition. Over fifty writers are represented here, including such major figures as Rousseau, Kant, Schlegel, Schopenhauer and Hegel, and the useful introductions and biographical details of the original are also retained. The aesthetic literature of the period is profuse but this carefully edited volume offers a balanced selection which illuminates the ways people experienced music and how they came to an understanding in particular of the new music of their day.
| ISBN | 0521359015 | | Volumes | 1 | | ISBN13 | 9780521359016
(What's this?) | | Weight (grammes) | 610 | | Publisher | Cambridge University Press | | Published in | Cambridge | | Imprint | Cambridge University Press | | Series title | Cambridge Readings in the Literature of Music | | Format | Paperback | | Previous ISBN | 9780521234269 | | Publication date | 07 Apr 1988 | | Height (mm) | 228 | | Library of Congress | ML3845 .M97 1988 | | Width (mm) | 152 | | DEWEY | 780/.1 | | Spine width (mm) | 24 | | DEWEY edition | DC19 | | Academic level | Professional / Scholarly | | Pages | 416 | |
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Preface to the abridged edition; Preface to the first edition; Introduction; Reflexions critiques sur la poesie et sur la peinture (1719) Du Bos; An Inquiry into the Original of our Ideas of Beauty and Virtue (1725) Hutcheson; Three Treatises (1744) Harris; Les beaux-arts reduits a un meme principe (1746) Batteux; 'Discours preliminaire' from the Encyclopedie (1751) d'Alembert; An Essay on Musical Expression (1753) Avison; 'Genie', from the Encyclopidie (1757) de Jaucourt; 'Le Gout, from the Encyclopedie (1757) Voltaire; A Philosophical Enquiry into the Origin of our Ideas of the Sublime and the Beautiful (1757) Burke; Essai sur l'origine des langues (1764) Rousseau; Sensibilite', 'Le Sublime', from the Encyclopedie (1765) de Jaucourt; 'Le Genie', 'L'Imitation' (with Framery's commentary), 'Le Natural', 'Le Gout', 'L'Unite de melodie', from the Dictionnaire de musique (1767) Rousseau; 'Aesthetik', 'Leidenschaften', 'Ausdruck in der Musik', 'Genie', Begeisterung', 'Musik', 'Naturlich', 'Erhaben', from the Allgemeine Theorie der schonen Kunste (1771) Sulzer; 'Lettre ... sur la musique, from (1773) Gluck; 'Preliminary Discourse' from A General History of the Science and Practice of Music (1776) Hawkins; Entretiens sur l'etat de la musique grecque au quatrieme siecle (1777) Barthelemy; La poetique de la musique (1785) La Cepede; 'Versuch einer Vereinigung alley schonen Kunste', from Berlinische Monatsschrift (1785) Moritz; Discourse xiii (1786) Reynolds; 'Essay on Musical Criticism', from A General History of Music (vol. 3) (1789) Burney; Essays on the Nature and Principles of Taste (1790) Alison; Kritik der Urteilskraft (1790) Kant; System der Aesthetik (1790) Heydenreich; 'Ueber Charakterdarstellung in der Musik', from Die Horen (1795) Korner; Essay sur la propagation de la musique en France (1796) Leclerc; From the Allgemeine musikalische Zeitung (1813), Kalligone (1800) Herder; Vorlesungen fiber schone Literatur und Kunst (1801), Vorlesungen fiber dramatische Kunst und Literatur (1808) Schlegel, A. W.; 'The intangibility of music'; 'Musical beauty - form and content'; 'The beautiful and the sublime in music'; 'Humour in music', from the Allgemeine musikalische Zeitung (1805-7) and the Berlinische musikalische Zeitung (1805) Michaelis; 'Le Beau', 'Classique', 'Romanesque', 'Le Sublime' from the Dictionnaire des beaux-arts (1806) Millin; 'Of classic and romantic poetry' de Stael; Die Welt als Wille und Vorstellung (1819) Schopenhauer; 'Music and the other arts'; 'Musical interpretation of content'; 'The effect of music'; 'Form, technique and content in music'; 'The relationship between the musical means of expression and their content'; 'Lyric and dramatic music'; 'Independent music', from Aesthetik Hegel; 'Du romantique', from Le Globe (1825) Anon; Ueber Reinheit der Tonkunst (1825) Thibaut;'Bello', 'Espressione', 'Imitazione', 'Romantico', 'Sublime', 'Unita', 'Estetica' Lichtenthal; 'Reponse a fine question qui noun a ete faite par nos abonnes'; 'Revue des journaux de musique publiees daps les divers pays de I'Europe', from the Revue musicale (1827) Fetis; L'Histoire du romantisme (1829) Toreinx; 'Le romantisme en musique', from the Revue musicale (1830) E.F.; Substance of Several Courses of Lectures (1831) Crotch; 'Sur les dictionnaires de musique'; 'Polemique. Du mouvement et de la resistance en musique', from the Revue musicale (1831) Fetis; Kurze Encyclopddie der Philosophic (1831) Herbart; 'The importance of the imagination'; 'Emotion'; 'The nature of the composer's inspiration'; 'That music is more precise than words'; Musical progress' (1831-46) Mendelsohn; 'Schonheit und Schon', 'Begeisterung', 'Romantik und Romantisch', 'Erhaben' from the Universal Lexicon der Tonkunst (1834-8) Schilling; Filosofia della Musica (1836) Mazzini; 'Ideen fiber Baukunst und Musik', from Neue Zeitschrift fur Musik (1838) Becker; L'etat actuel de l'esthetique mus
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