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Part III - Aesthetics

Published online by Cambridge University Press:  06 August 2021

Edited by
Benedict Taylor
Benedict Taylor
Affiliation:
University of Edinburgh
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The Cambridge Companion to Music and Romanticism , pp. 163 - 228
Publisher: Cambridge University Press
Print publication year: 2021

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References

Further Reading

Beiser, Frederick. German Idealism: The Struggle Against Subjectivism, 1781–1801 (Cambridge, MA: Harvard University Press, 2002).Google Scholar
Beiser, Frederick. The Romantic Imperative: The Concept of Early German Romanticism (Cambridge, MA: Harvard University Press, 2003).Google Scholar
Bonds, Mark Evan. Absolute Music: The History of an Idea (New York: Oxford University Press, 2014).Google Scholar
Bonds, Mark Evan. Music as Thought: Listening to the Symphony in the Age of Beethoven (Princeton: Princeton University Press, 2006).Google Scholar
Bowie, Andrew. Aesthetics and Subjectivity: From Kant to Nietzsche, 2nd ed. (Manchester: Manchester University Press, 2003).Google Scholar
Bowie, Andrew. ‘Music and the Rise of Aesthetics’, in Samson, Jim (ed.), The Cambridge History of Nineteenth-Century Music (Cambridge: Cambridge University Press, 2002), 29–54.Google Scholar
Chua, Daniel K. L. Absolute Music and the Construction of Meaning (Cambridge: Cambridge University Press, 1999).Google Scholar
Gordon, Paul. Art as the Absolute: Art’s Relation to Metaphysics in Kant, Fichte, Schelling, Hegel, and Schopenhauer (New York: Bloomsbury, 2015).Google Scholar
Hodkinson, James. ‘The Cosmic-Symphonic: Novalis, Music, and Universal Discourse’, in Donovan, Siobhán and Elliot, Robin (eds.), Music and Literature in German Romanticism (Rochester, NY: Camden House, 2004), 13–26.Google Scholar
McAuley, Tomás. The Music of Philosophy: German Idealism and Musical Thought, from Kant to Schelling (New York: Oxford University Press, forthcoming).Google Scholar
Millán-Zaibert, Elizabeth. Friedrich Schlegel and the Emergence of Romantic Philosophy (Albany: SUNY Press, 2007).Google Scholar
Morrow, Mary Sue. German Music Criticism in the Late Eighteenth Century: Aesthetic Issues in Instrumental Music (Cambridge: Cambridge University Press, 1997).Google Scholar
Pritchard, Matthew. ‘Music in Balance: The Aesthetics of Music after Kant, 1790–1810’, Journal of Musicology, 36/1 (2019), 39–67.Google Scholar
Sorgner, Stefan Lorenz, and Fürbeth, Oliver (eds.). Music in German Philosophy: An Introduction, trans. Gillespie, Susan H. (Chicago: University of Chicago Press, 2010).Google Scholar

Further Reading

Bowie, Andrew. Music, Philosophy, and Modernity (Cambridge: Cambridge University Press, 2007).Google Scholar
Bent, Ian (ed.). Music Theory in the Age of Romanticism (Cambridge: Cambridge University Press, 1996).Google Scholar
Bonds, Mark Evan. Absolute Music: The History of an Idea (New York: Oxford University Press, 2014).Google Scholar
Chapple, Gerald, Hall, Frederick, and Schulte, Hans (eds.). German Literature and Music in the Nineteenth Century (Lanham: University Press of America, 1992).Google Scholar
Chua, Daniel K. L. Absolute Music and the Construction of Meaning (Cambridge: Cambridge University Press, 1999).Google Scholar
Dahlhaus, Carl. The Idea of Absolute Music, trans. Lustig, Roger (Chicago: University of Chicago Press, 1989).Google Scholar
Daverio, John. Nineteenth-Century Music and the German Romantic Ideology (New York: Schirmer, 1993).Google Scholar
Donovan, Siobhán and Elliott, Robin (eds.). Music and Literature in German Romanticism (Rochester, NY and Woodbridge: Camden House, 2004).Google Scholar
Fubini, Enrico. The History of Music Aesthetics, trans. Hatwell, Michael (London: Macmillan, 1990).Google Scholar
Garratt, James. Music, Culture, and Social Reform in the Age of Wagner (Cambridge: Cambridge University Press, 2010).Google Scholar
Pederson, Sanna. Enlightened and Romantic German Music Criticism, 1800–1850 (PhD dissertation, University of Pennsylvania, 1995).Google Scholar
Ruiter, Jacob de. Der Charakterbegriff in der Musik: Studien zur deutschen Ästhetik der Instrumentalmusik, 1740–1850 (Stuttgart: Steiner, 1989).Google Scholar
Samson, Jim (ed.). The Cambridge History of Nineteenth-Century Music (Cambridge: Cambridge University Press, 2001).Google Scholar
Sorgner, Stefan Lorenz, and Fürbeth, Oliver (eds.). Music in German Philosophy: An Introduction (Chicago: University of Chicago Press, 2010).Google Scholar
Stegbauer, Hanna. Die Akustik der Seele: Zum Einfluss der Literatur auf die Entstehung der romantischen Instrumentalmusik und ihrer Semantik (Göttingen: Vandenhoeck & Ruprecht, 2006).Google Scholar
Tadday, Ulrich. Das schöne Unendliche: Ästhetik, Kritik, Geschichte der romantischen Musikanschauung (Stuttgart: Metzler, 1999).Google Scholar

Further Reading

Berlin, Isaiah. The Roots of Romanticism, ed. Hardy, Henry (London: Chatto & Windus, 1999).Google Scholar
Bonds, Mark Evan. Absolute Music: The History of an Idea (New York: Oxford University Press, 2014).Google Scholar
Bonds, Mark Evan Music as Thought: Listening to the Symphony in the Age of Beethoven (Princeton: Princeton University Press, 2006).Google Scholar
Dahlhaus, Carl. The Idea of Absolute Music, trans. Lustig, Roger (Chicago: University of Chicago Press, 1989).Google Scholar
Hegel, Georg Friedrich, Wilhelm. Aesthetics: Lectures on Fine Art, trans. Knox, T. M., 2 vols. (Oxford: Clarendon Press, 1975).Google Scholar
Hoffmann, E. T. A. E. T. A. Hoffmann’s Musical Writings: Kreisleriana, The Poet and the Composer, Music Criticism, ed. Charlton, David, trans. Clarke, Martyn (Cambridge: Cambridge University Press, 1989).Google Scholar
Hoffmann, Ernst Theodor Amadeus Selected Writings of E. T. A. Hoffmann, vol. 2: The Novel, ed. and trans. Kent, Leonard J. and Knight, Elizabeth C. (Chicago: University of Chicago Press, 1969).Google Scholar
Kant, Immanuel. Critique of Judgment, trans. Pluhar, Werner S. (Indianapolis: Hackett Publishing Co., 1987).Google Scholar
Lippman, Edward A. Musical Aesthetics: A Historical Reader, vol. II: The Nineteenth Century (Stuyvesant, NY: Pendragon Press, 1988).Google Scholar
Meysenbug, Malwida von. Memoiren einer Idealistin, 3 vols. (Berlin and Leipzig: Schuster & Loeffler, 1905).Google Scholar
Rosen, Charles. The Romantic Generation (Cambridge, MA: Harvard University Press, 1995).Google Scholar
Schopenhauer, Arthur. The World as Will and Representation, trans. Payne, E. F. J., 2 vols. (New York: Dover, 1958).Google Scholar
Wackenroder, Wilhelm Heinrich. Confessions and Fantasies, trans. Schubert, Mary Hurst (University Park, PA: Pennsylvanian State University Press, 1971).Google Scholar
Watkins, Holly. Metaphors of Depth in German Musical Thought: From E. T. A. Hoffmann to Arnold Schoenberg (Cambridge: Cambridge University Press, 2011).Google Scholar
Watkins, Holly Musical Vitalities: Ventures in a Biotic Aesthetics of Music (Chicago: University of Chicago Press, 2018).Google Scholar

Further Reading

Abrams, M. H. The Mirror and the Lamp: Romantic Theory and the Critical Tradition (Oxford: Oxford University Press, 1953).Google Scholar
Bernstein, Susan. Virtuosity of the Nineteenth Century: Performing Music and Language in Heine, Liszt, and Baudelaire (Stanford: Stanford University Press, 1998).Google Scholar
Bonds, Mark Evan. Absolute Music: The History of an Idea (New York: Oxford University Press, 2014).Google Scholar
Bonds, Mark Evan. ‘Idealism and the Aesthetics of Instrumental Music at the Turn of the Nineteenth Century’, Journal of the American Musicological Society, 50/2–3 (1997), 387–420.Google Scholar
Burnham, Scott. ‘Criticism, Faith, and the “Idee”: A. B. Marx’s Early Reception of Beethoven’, 19th-Century Music, 13/3 (1990), 183–92.Google Scholar
Gay, Peter. The Naked Heart (New York: Norton, 1995).Google Scholar
Gooley, Dana. ‘The Battle Against Instrumental Virtuosity in the Early Nineteenth Century’, in Gibbs, Christopher H and Gooley, Dana (eds.), Franz Liszt and his World (Princeton: Princeton University Press, 2006), 75–112.Google Scholar
Leistra-Jones, Karen. ‘Staging Authenticity: Joachim, Brahms, and the Politics of Werktreue Performance’, Journal of the American Musicological Society, 66/2 (2013), 397–436.Google Scholar
Lippman, Edward A. A History of Western Musical Aesthetics (Lincoln, NE: University of Nebraska Press, 1992).Google Scholar
Ronyak, Jennifer Intimacy, Performance, and the Lied in the Early Nineteenth Century (Bloomington: Indiana University Press, 2018).Google Scholar
Stefaniak, Alexander. ‘Clara Schumann’s Interiorities and the Cutting Edge of Popular Pianism’, Journal of the American Musicological Society, 70/3 (2017), 697–765.Google Scholar
Taylor, Charles. Sources of the Self: The Making of the Modern Identity (Cambridge, MA: Harvard University Press, 1989).Google Scholar
Trilling, Lionel. Sincerity and Authenticity (Cambridge, MA: Harvard University Press, 1972).Google Scholar
Watkins, Holly. Metaphors of Depth in German Musical Thought: From E. T. A. Hoffmann to Arnold Schoenberg (Cambridge: Cambridge University Press, 2011).Google Scholar

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  • Aesthetics
  • Edited by Benedict Taylor, University of Edinburgh
  • Book: The Cambridge Companion to Music and Romanticism
  • Online publication: 06 August 2021
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  • Aesthetics
  • Edited by Benedict Taylor, University of Edinburgh
  • Book: The Cambridge Companion to Music and Romanticism
  • Online publication: 06 August 2021
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Aesthetics
  • Edited by Benedict Taylor, University of Edinburgh
  • Book: The Cambridge Companion to Music and Romanticism
  • Online publication: 06 August 2021
Available formats
×