„Tönend bewegte Formen“ oder „seelischer Ausdruck“. Zu einer musikästhetischen Streitfrage im 19. Jahrhundert
Barbara Boisits
De Musica Disserenda · 2015
doi:10.3986/dmd02.2.04 (opens in a new tab)
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Abstract
The paper compares Hanslick’s book Vom Musikalisch-Schönen (1854) with August Wilhelm Ambros’s Die Grenzen der Musik und Poesie (1855). Whereas Hanslick perceived the uniqueness of music in its radical autonomy, Ambros tried to find common ground with the other arts in order to make music participate in the spirit of its time.
Abstract licence: CC BY-NC-ND
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