By Kevin Karnes
Greater than a century after Guido Adler's appointment to the 1st chair in musicology on the collage of Vienna, track, feedback, and the problem of background provides a primary examine the self-discipline during this earliest interval, and on the ideological dilemmas and methodological anxieties that characterised it upon its institutionalization. writer Kevin Karnes contends that essentially the most very important questions surrounding musicology's disciplinary identities today-the dating among musicology and feedback, the position of the topic in research and the narration of background, and the duties of the student to the listening public-originate in those conflicted and mostly forgotten beginnings.
Karnes lays naked the character of song research within the overdue 19th century via insightful readings of long-overlooked contributions through 3 of musicology's prime pioneers-Adler, Eduard Hanslick, and Heinrich Schenker. formed as a lot by means of the skeptical pronouncements of the likes of Nietzsche and Wagner because it was once via progressivist ideologies of clinical positivism, the hot self-discipline comprised an array of oft-contested and very own visions of track examine, its worth, and its destiny. Karnes introduces readers to a Hanslick who rejected the decision of positivist scholarship and committed himself to penning an avowedly subjective background of Viennese musical lifestyles. He argues that Schenker's analytical experiments had roots in a Wagner-inspired look for a serious substitute to Adler's style-obsessed scholarship. And he illuminates Adler's made up our minds reaction to Nietzsche's warnings concerning the energy of inventive and cultural existence in an more and more clinical age. via refined and meticulous presentation, Music, feedback, and the problem of History demonstrates that the hot self-discipline of musicology used to be inextricably tied in with the cultural discourse of its time.
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Extra resources for Music, Criticism, and the Challenge of History: Shaping Modern Musical Thought in Late Nineteenth-Century Vienna (AMS Studies in Music)
Am Anfang eine Mißachtung aller Erfahrungen der Kunst, ein schrankenloses Hingeben an die natürliche Anlage, aber schon mit 25 Jahren sieht er das einzig Wahre ein und drückt die Erkenntniß des Mendelssohn’schen Wesens mit den Worten aus: ‘Er ist der beste Musiker der Zeit, zu dem ich aufschaue wie zu einem hohen Gebirge. ’ Ein anderes mal sagt er: ‘In ähnlichen Verhältnissen, wie er (Mendelssohn) aufgewachsen, von Kindheit an zur Musik bestimmt, würde ich euch sammt und sonders überﬂügeln. ’ Besser konnte er den Schaden, den er an seiner Größe gelitten hat, nicht bezeichnen. So viel er konnte, machte er den Schaden später intestine. ” 30. Schenker, 250–51: “Nicht unähnlich battle der Fall Schubert’s. Trotzdem er, kaum acht Jahre alt, bereits so viel wußte, daß sein erster Lehrer sagte: ‘Wenn ich ihm was once Neues beibringen wollte, hat er es schon gewußt, folglich habe ich ihm eigentlich keinen Unterricht gegeben, sondern composer, critic, and the matter of creativity and assimilated the artistic classes of these who had come prior to him. In sharp distinction to his contemporaries Hector Berlioz and Franz Liszt, Brahms didn't permit himself to be governed by means of the whims of his inventive mind's eye. as an alternative, he intentionally labored to domesticate his inventive sensibilities during the very kind of diligent research and perform that Schenker encouraged. He wrote: It was once as a result of the main profound signiﬁcance for our time that, till lately, an artist labored between us who maintained a awareness of artwork in the middle of the main Romantic (one may also say most recent) surroundings. From the start, his normal expertise bowed down ahead of the better beauty of paintings. due to this, it was once endowed with the main attractive gift. . . . He on my own understood the nice sermon of artwork and practiced what it preached. Now Brahms is lifeless. what is going to come now? 31 For the Schenker of “More artwork” and “Routine in Music,” what made a musician right into a nice one used to be now not average expertise or innate artistic genius. in its place, it used to be a dedication, into which one needs to consciously input, to paintings diligently at honing one’s craft and internalizing no matter what classes can be gleaned from the reviews of one’s predecessors. And if a critic who's no longer additionally a composer needs to appreciate the artistic approach, he has just one option to continue. He needs to devote himself to reading, in a cautious and planned demeanour, these files of the artistic event left by way of training artists. He needs to shun metaphysical hypothesis and Romantic poetics and commit himself to a process empirical, rationalistic inquiry. the matter of schenker’s brahms Assessing this flip in Schenker’s pondering over the process 1895–96, one is struck by way of a necessary query. What can have caused him to revise his place so extensively and in so brief a time period? It doesn't appear that Schenker’s flip to an empiricist place used to be encouraged through feedback of his past perspectives. certainly, his collage lecture on “The Spirit of Musical Technique,” during which he expounded upon the conscious/unconscious paradigm of creativity, turns out to were good got.