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Absolute programme music
Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.ORCID iD: 0000-0003-1070-0193
2017 (English)In: British Journal of Aesthetics, ISSN 0007-0904, E-ISSN 1468-2842, Vol. 57, no 1, 71-75 p.Article in journal (Refereed) Published
Abstract [en]

Mark Evan Bonds’ recent book, Absolute Music, deepens considerably the historical context within which Eduard Hanslick’s famous treatise on musical beauty can be read. This paper argues that, with the aid of this expanded context, we can understand Hanslick’s treatise to have provided contemporary and subsequent audiences with a kind of meta-programme for listening to symphonic and other non-texted music. That is to say, Hanslick’s text arguably informed and directed the way audiences came to listen to instrumental music by furnishing them with imaginative constructs (about musical form and its spiritual significance) which could then be applied to the practice of musical listening. In much the same way as the texts which supply the poetic scenarios of so-called programme music, Hanslick’s ‘meta-programme’ became indispensable to an expanding culture of musical listening in the second half of the 19th century and beyond beyond. My claim thus contradicts the well-known formalist tenets of Hanslick’s musical aesthetics.

Place, publisher, year, edition, pages
2017. Vol. 57, no 1, 71-75 p.
National Category
Philosophy Musicology
Research subject
Musicology
Identifiers
URN: urn:nbn:se:uu:diva-293679DOI: 10.1093/aesthj/ayw057ISI: 000400900700001OAI: oai:DiVA.org:uu-293679DiVA: diva2:928143
Available from: 2016-05-14 Created: 2016-05-14 Last updated: 2017-06-21Bibliographically approved

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