Recognizing Music as an Art Form: Friedrich Th. Vischer and German Music Criticism, 1848Ð1887

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Abbreviations Preface
Part I -The Hegemony of Idealist Philosophy Chapter one - Thinking about Art Chapter two - Thinking about Music
Part II - Between Subjectivity and Objectivity Chapter three - The Bird among the Arts Chapter four - The End of Art
Part III - Case Studies Chapter five - Musical Forms as 'Spiritualized Material': Repositioning Eduard Hanslick Chapter six - Programme Music: Franz Liszt's Negotiation of Hegelian Aesthetics Chapter seven - Furthering a 'New Form of Consciousness': Franz
Epilogue - Deconceptualizing Music/ology Appendices Appendix I - Hegelian Glossary Appendix II - Editions and Translations Appendix III - Manuscript Sources Appendix IV - Music Criticism and Idealist Discourse Appendix V - References to Vischer in Music
Bibliography Translations Index

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The importance of F.T. Vischer on 19th-century music criticism Music’s status as an art form was distrusted in the context of German idealist philosophy which exerted an unparalleled influence on the entire nineteenth century. Hegel insisted that the content of a work of art should be grasped in concepts in order to establish its spiritual substantiality (Geistigkeit), and that no object, word or image could accurately represent the content and meaning of a musical work. In the mid-nineteenth century, Friedrich Theodor Vischer and other Hegelian aestheticians kept insisting on art's conceptual clarity, but they adapted the aesthetic system on which this requirement had been based. Their adaptations turned out to be decisive for the development of music criticism, to such an extent that music critics used them to point out musical content and to confirm music’s autonomy as an art form. This book unravels the network of music critics and philosophers, including not only Hegel but also Franz Liszt, Franz Brendel, and Eduard Hanslick, whose works shaped public opinions of music.

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