Contents

• Introduction: Jost Hermand
• CHRISTIAN GOTTLIEB LUDWIG
• From An Attempt to Prove That a Musical Play or Opera Cannot Be Good (1734)
• Translated by Michael Gilbert
• KARL WILHELM RAMLER
• In Defense of the Operas (1756)
• Translated by Michael Gilbert
• CHRISTIAN FRIEDRICH DANIEL SCHUBART
• Concerning Musical Genius (1784)
• Translated by Richard W. Harpster
• Concerning Musical Expression (1784)
• Translated by Ted Alan DuBois
• IMMANUEL KANT
• The Division of the Fine Arts (1790)
• Translated by James Creed Meredith
• JOHANN GEORG SULZER
• Expression in Music (1792-1794)
• Music (1794)
• Translated by Peter Le Huray and James Day
• WILHELM HEINRICH WACKENRODER
• The Marvels of the Musical Art (1799)
• Translated by Mary Hurst Schubert
• JOHANN GOTTFRIED HERDER
• Music, an Art of Humanity (1802)
• Translated by Edward A. Lippman
• JOHANN NICKOLAUS FORKEL
• Bach the Composer (1802)
• The Genius of Bach (1802)
• Translated by Charles Sanford Terry
• E.T.A. (Ernst Theodor Amadeus) HOFFMANN
• Beethoven's Instrumental Music (1813)
• Translated by Oliver Strunk
• ARTHUR SCHOPENHAUER
• From The World as Will and Representation (1819)
• Translated by Peter Le Huray and James Day
• GEORG FRIEDRICH WILHELM HEGEL
• From The Aesthetics (1835)
• Translated by Peter Le Huray and James Day
• BETTINA VON ARNIM
• Beethoven (1832)
• Translated by Michael Gilbert
• EDUARD HANSLICK
• "Content" and "Form" in Music (1854)
• Translated by Geoffrey Payzant
• FRIEDRICH NIETZSCHE
• From Richard Wagner in Bayreuth (1876)
• Translated by Michael Gilbert
• The Case of Wagner (1888)
• Translated by Walter Kaufmann
• FRIEDRICH VON HAUSEGGER
• A Popular Discussion of Music as Expression (c. 1885)
• Translated by Michael Gilbert
• THOMAS MANN
• Coming to Terms with Richard Wagner (1913)
• Translated by Allan Blunden
• Hans Pfitzner's Palestrina (1918)
• Translated by Walter D. Morris
• AUGUST HALM
• On Fugal Form, Its Nature, and Its Relation to Sonata Form (1913)
• Translated by Edward A. Lippman
• HANS BREUER
• The Wandervogel Movement and Folk Song (1919)
• Translated by Michael Gilbert
• MAX WEBER
• Technical, Economic, and Social Interrelations between Modern Music and Its Instruments (1921)
• Translated by Don Martindale, Johannes Riedel, and Gertrude Neuwirth
• H.H. STUCKENSCHMIDT
• The Mechanization of Music (1925)
• The Ivory Tower (1955)
• Translated by Michael Gilbert
• WILHELM FURTWÄNGLER
• Problems of Conducting (1929)
• Translated by Michael Gilbert
• PETER SUHRKAMP
• Music in the Schools (1930)
• Translated by Michael Gilbert
• ARNOLD SCHERING
• Music and Society (1931)
• Translated by Michael Gilbert
• HEINRICH SCHENKER
• Introduction to the First Edition of Free Composition (1935)
• Translated by Ernst Oster
• BERTOLT BRECHT
• On the Use of Music in an Epic Theater (1935)
• Translated by John Willett
• ERNST BLOCH
• Human Expression as Inseparable from Music (1955)
• Translated by Peter Palmer
• BRUNO WALTER
• Thoughts on the Essential Nature of Music (1957)
• Translated by Paul Hamburger
• THEODOR W. ADORNO
• Classes and Strata (1962)
• Translated by E.B. Ashton
• GEORG KNEPLER
• Music Historiography in Eastern Europe (1972)
• Translated by Barry S. Brooks et al.
• DIETRICH FISCHER-DIESKAU
• The Composer (c. 1978)
• Translated by Kenneth S. Whitton
• CARL DAHLHAUS
• Absolute Music as an Aesthetic Paradigm (1978)
• Translated by Roger Lustig
• GÜNTER MAYER
• From On the Relationship of the Political and Musical Avant-garde (1989)
• Translated by Michael Gilbert
• JOST HERMAND
• Avant-garde, Modern, Postmodern: The Music (Almost) Nobody Wants to Hear (1991)
• Translated by James Keller
• The Authors