By Kevin C. Karnes
Greater than a century after Guido Adler's appointment to the 1st chair in musicology on the college of Vienna, tune, feedback, and the problem of historical past offers 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 probably the most very important questions surrounding musicology's disciplinary identities today-the dating among musicology and feedback, the function of the topic in research and the narration of heritage, and the duties of the coed to the listening public-originate in those conflicted and principally forgotten beginnings.
Karnes lays naked the character of track research within the overdue 19th century via insightful readings of long-overlooked contributions through 3 of musicology's most well known pioneers-Adler, Eduard Hanslick, and Heinrich Schenker. formed as a lot via the skeptical pronouncements of the likes of Nietzsche and Wagner because it was once via progressivist ideologies of clinical positivism, the recent self-discipline comprised an array of oft-contested and very own visions of song research, its price, and its destiny. Karnes introduces readers to a Hanslick who rejected the decision of positivist scholarship and devoted himself to penning an avowedly subjective background of Viennese musical existence. He argues that Schenker's analytical experiments had roots in a Wagner-inspired look for a serious replacement to Adler's style-obsessed scholarship. And he illuminates Adler's made up our minds reaction to Nietzsche's warnings concerning the power of inventive and cultural existence in an more and more medical age. via refined and meticulous presentation, track, feedback, and the problem of background 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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Additional resources for Music, Criticism, and the Challenge of History: Shaping Modern Musical Thought in Late Nineteenth-Century Vienna (AMS Studies in Music)
On Eitelberger’s appointment, see Blaukopf, Pioniere, 105–8; Gubser, Time’s Visible Surface, 106–7; and Martin Seiler, “Empiristische Motive im Denken und Forschen der Wiener Schule der Kunstgeschichte,” in Kunst, Kunsttheorie und Kunstforschung, ed. Seiler and Stadler, 53–58. 31 32 eduard hanslick and M USIKW ISSENSCH AFT Exner and Thun-Hohenstein. 24 And Thun-Hohenstein’s petition to Emperor Franz Joseph on behalf of Eitelberger’s candidacy had made clear the Count’s belief that Eitelberger would contribute to the “Herbartization” of a ﬁeld still in thrall to speculative traditions of aesthetic inquiry.
But Exner, Zimmermann, and Thun-Hohenstein found a surrogate in the Saxon philosopher Johann Friedrich Herbart (1776–1841). Herbart shared Bolzano’s dedication to the quest for absolute objectivity, and he preached a vision of static social harmony that readily found ofﬁcial support in a society where Hegelian idealism was widely associated with the political ideologies that had fueled the revolutions of 1848 and 1789. From his post at the Ministry of Education, Hanslick could sense that the climate at the university might be amenable to an unprecedented addition to its curriculum: a course in music appreciation.
17. Guido Adler, “Umfang, Methode und Ziel der Musikwissenschaft,” Vierteljahrsschrift für Musikwissenschaft 1 (1885), 16–17. The outline is reprinted, with translation, in Bujic´, Music in European Thought, 354–55. Adler cites Spitta’s “Kunstwissenschaft und Kunst” as inspiration for his work on pages 19–20 of his essay (353 in Bujic´’s volume). 1 Guido Adler’s tabular survey of Musikwissenschaft, from his “Scope, Method, and Goal of Musicology,” 1885 (Adler, “Umfang, Methode und Ziel der Musikwissenschaft,” 16–17).